DAY
OF
THE
DEAD
(The original script)
by George A. Romero
FADE IN:
1 EXT. THE EMPTY STREET OF A CITY - DAY
No people. A FEW CARS AND TRUCKS are parked at odd angles, abandoned.
A TITLE FADES IN, one phrase at a time.
FIVE YEARS...
SINCE THE DEAD FIRST WALKED.
2 EXT. THE CITY - DAY
We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the
streets. A LARGE ALLIGATOR slithers into frame, stops and looks
around.
MONTAGE: as MORE GATORS explore the empty streets, knocking over
GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW.
A GATOR crawls out through the open doors of AN ABANDONED BANK. LOOSE
BILLS are dragged along under the animal's tail. They flutter away on
the WIND.
3 EXT. THE CITY - DAY
GATORS crawl over A '79 CADELLIC. A FEMALE SKELETON sits slumped over
the steering wheel. In the back a BABY'S BONES are strapped into AN
INFANT'S SAFETY SEAT. One of the gators THUMPS its tail maddeningly
against the windshield. ANOTHER TITLE APPEAR:
FLORIDA - 1987
4 EXT. THE CITY - DAY
CLOSE ON A SECTION OF PAVEMENT as we hear THE SOUND OF SLUGGISH
FOOTSTEPS approaching. A SHADOW appears at the bottom of the frame.
It gets longer and takes on the shape of a man.
TIGHT ON THE AFTERNOON SUN, blinding us. Into the FOREGROUND lurches
THE FIGURE which cast the shadow. Glare obscures all facial detail
until the head jogs into position directly in front of the fiery ball
in the sky. Then we see its hideous, dead eyes, its blue-grey colour,
the blackened wound where a large portion of jaw has been ripped
away. This is a ZOMBIE! A MUSIC CHORD SOUNDS and THE MAIN TITLE
APPEARS:
DAY OF THE DEAD
5 EXT. THE CITY - DAY
HEAD CREDITS ROLL over A MONTAGE: the CITY STREETS are now populated
by the WALKING DEAD. In every shape, size and colour they wander,
without purpose, up and down the avenues, in and out of buildings.
The city is theirs, they have inherited the place. Man, in his human
form, seems to be gone.
As the CREDITS END, we CUT TO:
6 EXT. A MAIN STREET - DAY
We are looking down from a HIGH ANGLE. The corner of A TALL BUILDING
is in the FOREGROUND. A CORPSE is dangling from A NOOSE. It's been
dead for some time. It's mostly bone now, its blackened flesh picked
clean by scavenger birds and harbour rats. A SIGN flaps against its
chest cavity. Its hurriedly scrawled message reads: TAKE ME, LORD! I
LOVE YOU!
THE ROPE BREAKS suddenly and THE CORPSE FALLS out of frame.
7 EXT. THE STREET - DAY
We're at GROUND LEVEL now...SMACK!!! THE CORPSE HITS THE PAVEMENT and
SHATTERS as though made of potter's clay. BONES bounce over a wide
area. THE SIGN is carried off by the WIND.
8 EXT. AN ABANDONED MARINA - DAY
THE SIGN gallops across the grass of A HARBOUR PARK towards the water
where A FEW DERELICT BOATS sway in the WIND.
Slowly, THE SOUND OF A MOTOR FADES IN.
9 EXT. THE MARINA (CLOSER ANGLE) - DAY
A FISHING BOATS, old and sea-worn, chugs into the harbour.
10 EXT. THE MARINA (CLOSE ON THE FISHING BOAT) - DAY
There are people on board, THREE MEN AND TWO WOMEN. They look like
guerilleros from somewhere in Latin America. They're heavily armed,
unshaven, covered with months worth of jungle crud. They are
obviously exhausted. They gaze up to the city. Their deep-sunken eyes
are too war-weary to show much emotion but we can read their despair.
TONY
Another dead place. I tol' you. Let's get
out to the islands.
MIGUEL
The radio signals were coming from this
area.
TONY
Not from the city. In every city it's the
same. Dead. Let's get out to the barrier
islands. If there are survivors sending
those signals that's where we'll find them.
MIGUEL
Plenty of time for the islands. The rest of
our...life...on the islands...I think.
Miguel is drifting. The sight of the dead city has pushed him a few
inches closer to the brink of insanity. He catches himself and comes
back toward reality.
MIGUEL
We gotta see if there are others here. We
came all this way. We're gonna check it
out.
11 EXT. THE MARINA (AT THE DOCKS) - DAY
CLOSE ON THE OPEN GASOLINE RECEPTACLE in the hull of AN ABANDONED
BOAT. A WOMAN'S HANDS shove a LENGTH OF HOSE down into the hole.
The woman, MARIA, puts the other end of the hose to her mouth and
sucks the air out.
At ANOTHER DERELICT BOAT, TONY sucks on ANOTHER HOSE.
TONY
Ptoooo! Nothing! Dry as a bone. No gas.
Let's get outa here.
MIGUEL
Check them all. And check the tanks under
the pumps.
MIGUEL and the other two guerilleros, SARAH AND CHICO, start to walk
up the dock towards the harbour park, toward the city. MIGUEL has AN
ELECTRONIC BULLHORN in one hand, his AUTOMATIC RIFLE ready in the
other.
12 EXT. THE HARBOUR PARK - DAY
THE TRIO of refugees move across the grass. The WIND blows DEBRIS
around them as they stare towards the downtown buildings. MIGUEL
lifts THE BULLHORN to his mouth.
MIGUEL
HELLO. IS THERE ANYONE THERE? HELLO.
HELLOOOOOOO....
13 EXT. THE CITY - DAY
MONTAGE: as THE WALKING DEAD hear that human VOICE. Throughout the
city they turned towards THE SOUND, at once confused and excited.
MIGUEL (o.s.)
HELLOOOOOOOOOOO....
THE DEAD start to GROAN hungrily, almost pleadingly. All over the
city their VOICES RISE.
14 EXT. THE HARBOUR PARK - DAY
It comes to MIGUEL AND THE OTHERS as A MASSIVE WALL OF NOISE, THE
SOUND of hundreds-of-thousands of damned souls moaning on one solid
voice. The sound of hell on earth.
15 EXT. THE MARINA (AT THE DOCKS) - DAY
TONY AND MARIA hear it as well and feel the familiar grip of cold
fear. Maria makes the sign of the cross.
MARIA
Dios mia.
TONY
I tol' him. I tol' him this is a dead
place. Like all the others.
CUT TO:
16 EXT. THE CITY (FROM THE WATER) - DAY
We see the place FROM A GREAT DISTANCE. In the FOREGROUND THE FISHING
BOAT, with all five REFUGEES back on board, chugs into open waters.
CUT TO:
17 EXT. A SMALL PRIVATE DOCK - DAY
Away from the city, this dock is wooden, rickety. DERELICT BOATS rust
at their moorings. THE FISHING BOAT is tied-on at one end of the pier
and THE GUERILLEROS are moving through the area, scavenging. This
time CHICO helps MARIA with the SIPHON HOSES. TONY lingers sullenly
near the fishing boat which has its motor still idling.
MARIA'S SIPHON HOSE is stuffed into the gas tank of A LARGE TRAWLER.
She sucks on the hose and, unexpectedly, foul tasting liquid fills
her mouth.
MARIA
AY! GASOLINA! GASOLINA!
Without warning, A FIGURE pops up from behind the side wall of the
trawler. He reaches out and grabs the woman, pulling her against the
boat, his arm around her neck, a pistol to her head.
TONY sees the action. He dives into the fishing boat, crawls over to
his RIFLE and scrambles towards the pilot's controls.
With a lightning move, MARIA pulls A KNIFE from her belt. She
wrenches around and PLUNGES THE BLADE INTO HER ATTACKER'S CHEST. The
man staggers back, screaming. MARIA breaks away and runs across the
dock. THE MAN FIRES HIS PISTOL wildly.
MARIA IS HIT IN THE ARM. She tumbles forwards onto the decking.
TONY reacts, OPENING FIRE WITH HIS AUTOMATIC.
BULLETS RIP INTO THE ATTACKERS CHEST: HE FALLS OUT OF THE TRAWLER
onto the dock, but TWO MORE GUNMEN appear behind him, mean-looking
desperadoes with RIFLE SPITTING LEAD.
TONY ducks as low as he can. He grabs the controls and pilots the
fishing boat along the edge of the dock toward the downed woman.
18 EXT. THE PRIVATE DOCK - DAY
MIGUEL, SARAH AND CHICO react to the gunfire. They draw their WEAPONS
and look for cover.
They are at the far end of the dock, their backs to the sea. There is
a WORK SHED nearby. BULLETS WHIZ past them as they charge towards the
wooden structure. They make it there safely and they begin to RETURN
FIRE. A gun battle ensues between the two groups.
19 EXT. THE PRIVATE DOCK - DAY
MARIA, her ARM BLEEDING, rolls off the dock and into THE FISHING
BOAT. TONY guns the engine and the boat pulls out into open water.
THE ATTACKERS try to FIRE AT THE ESCAPING BOAT but they are forced to
duck BULLETS which RICOCHET OFF THE TRAWLER pinning them down.
20 EXT. THE PRIVATE DOCK - DAY
MIGUEL'S RIFLE is in his right hand. His left hand clings to the
frame of AN OPEN WINDOW on his side of the shed. There's a SUDDEN,
STARTLING MUSIC STING and, with it, A ZOMBIE appears inside the open
window. Grotesque and drooling dark SALIVA, its hungry mouth lunges
at MIGUEL'S left arm. ITS TEETH TEAR A LARGE STRIP OF FLESH OUT OF
THE ARM six inches above the wrist.
MIGUEL screams. He pulls away from the creature, his terrified eyes
staring at the BLEEDING WOUND. A zombie bite means infection and
almost certain death.
THE ZOMBIE leans out through the open window, its hands clawing the
air trying to reach MIGUEL. SARAH pulls A GIANT .45 from her holster
belt. BULLAMN! BULLAMN! BULLAMN! She FIRES three rapid shots.
THE SKULL OF THE ZOMBIE INDENTS IN FRONT like a hard-boiled egg shell
that's been whacked with a spoon bowl. BLACKENED BLOOD AND BRAIN
MATTER FLIES OUT OF THE BACK where the bullets exit. The creature
falls, destroyed.
21 EXT. THE PRIVATE DOCK - DAY
SARAH acts quickly. She lunges towards CHICO and snatches A MACHETE
out of his belt. CHICO shows concern but he's busy RETURNING FIRE at
THE ATTACKERS on the trawler.
SARAH
I have to stop the infection... Querrida...
MIGUEL looks into SARAH'S eyes. He has started to tremble. A cry of
primal panic is gurgling up in his throat. With a sudden move, SARAH
slams her RIFLE BUTT into the side of his head with all her might. He
reels backwards and slams into the boathouse wall. His eyes roll but
he stays on his feet, still conscious.
CHICO steps away from his post and stands squarely in front of
MIGUEL. WHAP! He slugs him with a powerhouse right-cross. MIGUEL
still stands. WHAP! He slugs him again. WHAP! Again. Finally, MIGUEL
collapses into the man's arms and CHICO lays the limp body down on
the deck.
BUDDABLAM! RATTATATTATATTATATT! THE ENEMY, sensing an upper hand,
starts FIRING WITH MORE INTENSITY. CHICO steps away from MIGUEL and
SENDS SOME LEAD BACK their way.
22 EXT. THE PRIVATE DOCK - DAY
SARAH is crying. It's not weakness. She's crying for MIGUEL, crying
for his pain. But she doesn't hesitate in what she has to do. She
crouches over the BITTEN ARM and raises the MACHETE over her head.
THUCK! SHE CHOPS AT THE ELBOW JOINT with all her strength. THE BLADE
BITES DEEP BUT DOESN'T CUT THROUGH. SHE LIFTS IT AND CHOPS AGAIN AND
AGAIN....THUCK! THUCK! Then SHE DIGS AROUND, searching for the joint
the way she might on a turkey drumstick. Finding the spot, SHE PUSHES
DOWN WITH BOTH HANDS, leaning all her weight on the top edge of the
blade. TEARS are running down her cheeks when THE BIG KNIFE
FINALLY.... THUMMMPPP!....CUTS THROUGH TO THE DECKING.
Repulsed, angry, SARAH SWEEPS THE SEVERED FOREARM AWAY WITH THE BLADE
the way a butcher might sweep away unwanted fat. BLOOD IS SPURTING
OUT OF THE STUMP at an alarming rate. SARAH has to act quickly again.
While CHICO continues to RETURN FIRE at the enemy, SARAH swings
herself up onto the sill of the open boathouse window and disappears
inside the place.
23 INT. THE BOATHOUSE - DAY
The place is dark and cluttered (oars, bait buckets, fishing gear,
life preservers, tools, paints, varnishes). SARAH snatches up AN AXE
HANDLE.
THE ZOMBIE that bit Miguel lies nearby with its skull laid open. Its
hand is jogged, startingly, when SARAH grabs A BOTTLE OF PAINT
THINNER from the floor beside the corpse.
From out of the shadows...A HAND! It grabs SARAH'S ankle. She kicks
violently and pulls away. ANOTHER ZOMBIE is crawling across the
floor. ONE OF ITS LEGS IS MISSING AND THE OTHER IS BADLY DAMAGED.
SARAH draws her .45 and BULLAMM! BULLAMM! SHE PUMPS TWO ROUNDS INTO
THE CREATURE'S BRAIN.
24 EXT. THE PRIVATE DOCK - DAY
CHICO ducks the enemy's RICOCHETING BULLETS.
CHICO
HEY ! WHAT ARE WE DOIN' THIS FOR? WE CAN
STICK TOGETHER. WE CAN USE EACH OTHER'S
GUNS.
At THE TRAWLER, ONE OF THE ATTACKERS shouts a response.
ATTACKER #1
You could use our guns, maybe. We can't use
yours. Unless you can get yer boat back
here.
CHICO
You got a boat.
ATTACKER #1
Shit, man. We can drift this tub into the
bay...tow her around with a dinghy...but
she ain't gonna get us nowhere. Ev'ry boat
you see here is long dead, soldier...else
we'd be long gone. Can you get your boat
back here?
CHICO
I don't know where they went, man. I don't
know. I swear.
ATTACKER #1
Then, like I said...we can't use you. We
ain't got the food nor the patience to put
up with you.
The man FIRES A LONG BURST from his automatic.
CHICO
YOU....YOU MOTHERFUCKERS!
He reaches around the corner of the shed with his own rifle and FIRES
blind in return. SARAH clambers out through the shed windows having
wrapped A LARGE PIECE OF CLOTH around the end of the AXE HANDLE.
She reaches into a shirt pocket and produces A WOODEN MATCH. She
strikes the match and touches the flame to the thinner-soaked cloth.
PHOOOOOMPH! The axe handle becomes an angrily flaming torch.
25 EXT. THE PRIVATE DOCK - DAY
As the gun battle continues, SARAH crouches over MIGUEL. BLOOD IS
STILL FOUNTAINING FROM THE STUMP OF HIS LEFT ARM. The woman slaps THE
FLAMING END OF HER TORCH ONTO THE STUMP. There's A SIZZLING SOUND as
the raw flesh there cooks.
The pain reaches MIGUEL even though his unconscious state. He starts
to breathe heavily. His head shakes from side to side silently
pleading "NO, NO, NO." The flames do their job. THE FLESH CRUSTS OVER
AND THE BLEEDING STOPS.
MIGUEL'S SHIRT CATCHES. Suddenly his eyes pop open and he screams
like the man on fire he is. He lurches away from the flame, his body
slamming against the shed wall. SARAH flings the torch into the water
and dives on top of the man.
SARAH
MIGUELITO. MI VIDA. MIGUEL MIO.
MIGUEL, trying to scream but needing to vomit, is doing neither. His
body is convulsing in the woman's arms. She rubs the sparks on his
shirt until they disappear then she caresses him, holding his head
against hers, rocking him back and forth.
26 EXT. THE PRIVATE DOCK - DAY
CHICO is still busy RETURNING FIRE. BULLETS WHIZ through the air
around his head. ONE KNICKS HIM ON THE SHOULDER, a superficial but
painful wound.
CHICO
JESUS CHRIST! GET UP HERE, WOMAN! GET THE
HELL UP HERE!
SARAH has no choice but to help in the fight. She lays MIGUEL as
gently as she can on his back. He's gone into deep shock, shivering
violently. Rubbing tears away from her eyes, SARAH jumps to her feet,
takes up a post and begins to FIRE AT THE ATTACKERS.
THE ATTACKERS are grinning like old-fashioned pirates as their GUNS
CHEW UP THE DOCK. Suddenly, just behind THE TRAWLER, we see A FLASH
OF COLOUR SPEEDING BY...
It's THE FISHING BOAT! The WOUNDED MARIA is steering. TONY is
standing on the prow with his RIFLE FIRING...
RATTATATTATATTATATTATATT!!!!
ONE OF THE ATTACKERS IS HIT FROM BEHIND. HIS BACK TURNS SOLID RED and
HE PITCHES FORWARDS, FALLING between the boat and the dock into the
water below.
THE OTHER ATTACKER (#1) turns and FIRES IN RESPONSE. TONY IS HIT IN
THE STOMACH. He falls to his knees and grabs the side of the boat but
he KEEPS FIRING.
THE ATTACKER pivots against a mast. For a moment he doesn't realise
that HIS NECK HAS BEEN RIPPED OPEN BY A LINE OF BULLETS. He tries to
scream. Can't. A PLUME OF RED SHOOT OUT OF HIS MOUTH. Then he
realises. He realises that he's a dead man. He falls.
MARIA
TONY....TONY....
TONY
PULL IN! GET THE OTHERS.
TONY is clutching at his BLEEDING BELLY as MARIA, in pain from her
own wound, circles the boat towards the edge of the dock.
27 EXT. THE PRIVATE DOCK - DAY
Behind the boathouse, SARAH slings her rifle onto her shoulder and
she leans over MIGUEL who is now catatonic.
SARAH
Help me get him to the boat.
CHICO
Leave him.
SARAH calmly raises her .45 and aims it directly at CHICO's head.
SARAH
Help me or die.
Reluctantly the man moves towards MIGUEL and the two survivors drag
his limp body over the decking.
DISSOLVE TO:
28 EXT. THE PRIVATE DOCK - SUNSET
The fishing boat is gone. Orange light from the western horizon
paints the scene. FIGURES are moving about on the dock, slumped,
lumbering figures....ZOMBIES.
They're clustering around THE TRAWLER, around THE CORPSES OF THE
ATTACKERS.
THEY BEGIN PULLING THOSE CORPSES APART AND EATING THEM HUNGRILY.
ONE CREATURE has found MIGUEL'S SEVERED FOREARM. IT PULLS A BIG CHUNK
OFF THE THING WITH ITS TEETH. It chews for a time, ITS DROOL TURNING
RED. Then it spits out MIGUEL'S WRISTWATCH as though it was a
bothersome bit of bone.
29 EXT. THE FISHING BOAT (IN DEEP WATER) - SUNSET
THE TWO WOMEN hover over their wounded, TONY AND MIGUEL. CHICO steers
the boat. Suddenly, TONY arches his back and screams in pain.
TONY
Aaaaaaah...my God...my God...I am heartily
sorry...for having offended
Thee....offended Thee...
MARIA
Shhhhh....Tony. Rest, rest.
TONY
I detest all my sins...because... because
of Thy just punishment... because of
Thy...just...punish...
A coughing fit interrupts his Act of Contrition. From across the open
cabin, from within SARAH'S arms, MIGUEL stares. His eyes have the
glaze of a madman's eyes. Despite that, and despite the physical
trauma he has endured, he seems remarkably in command.
MIGUEL
He is dying. I will end his pain.
MIGUEL draws his PISTOL.
MARIA
NOOOOOOOOO!
TONY
...but most of all because...they offend
Thee, my God...Who art all good...and
deserving...deserving of all my love...
MIGUEL
He is dying. He knows it.
MARIA
You are dying, too.
MIGUEL
No. The disease was cut away from me. I
will live. I will live.
TONY
I firmly resolve...with the... with the
help...the help of...of Thy grace...
TONY collapses. A long, gurgling breath of surrender spills out of
him and BLOOD TRICKLES FROM HIS LIFELESS MOUTH.
MARIA
Tony...TONY!
The woman folds TONY'S corpse into her arms as though trying to give
it life from her own wounded body. For a long moment there is only
the CHUG-CHUG-CHUG of the tired engine. Then the woman, sensing
something, turns back towards MIGUEL. His pistol is raised, aimed at
TONY'S head.
MARIA
NO! YOU CAN'T!
SARAH
It must be done. You know this. It must by
done to keep him from...
MARIA
It won't happen to him! It won't happen to
him! You heard his prayer. His prayer will
save him. He could never become one
of...one of those... devils.
MIGUEL
Prayers have no power to save. The knife
can save. It can cut the disease away. The
bullet. It can shatter the brain where the
evil takes seed. These are saviours...our
new saviours...our only saviours.
MARIA
We must wait. One day the curse will pass.
One day a dead man will... will...
MIGUEL
One day a dead man will refuse to return,
and that man will be a saint. The first
saint of our century. That's a prayer, too.
A catechism. Something the priests tell us
to believe.
MARIA
You can believe this, Miguel. I'll kill you
if you shoot. We must wait. I'll....I'll do
it....I'll do it myself....when it needs to
be done.
MIGUEL
No. You won't be able to do it. He will
rise. He will rise and you... you will die.
That madman's glaze is wet in MIGUEL'S eyes again. A grin curls his
mouth into an odd shape. He freezes, staring, waiting. SARAH shows
concern.
30 EXT. DEEP WATER (WITH THE FISHING BOAT) - NIGHT
A CRESCENT MOON lies on its back. Below, on the pitch black water,
its reflection, a vertical stripe, breaks open as THE BOAT passes
through it...CHUG-CHUG-CHUG.
31 EXT. THE FISHING BOAT (IN DEEP WATER) - NIGHT
CHICO has fallen asleep at the tiller. SARAH is asleep as well, and
so is MARIA.
A SILENT SHADOW moves over the side rail. HANDS reach out and grip
MARIA'S shoulders, lifting her up, up from sleep. Her eyes flutter
open.
TONY'S face is blue-grey in the moonlight. It takes the woman a
second or two to recognise that HE IS ONE OF THE LIVING DEAD. His
hungry mouth lunges towards her neck. His DROOLING TEETH SINK DEEP.
The woman screams.
SARAH wakes with a start. MIGUEL is already awake. He's been watching
all along. Now he watches still, his PISTOL idle in his one good
hand, his mouth curled in that strange grin, as MARIA'S screams
shatter the quiet night.
At the tiller, CHICO sees what's happening. He fumbles for the
AUTOMATIC RIFLE that's strapped over his shoulder.
A PORK-CHOP-SIZE CHUNK COMES OUT OF MARIA'S NECK IN THE CLENCHED
TEETH OF THE TONY-CREATURE. BLOOD SQUIRTS UPWARD IN A FIVE-FOOT ARC.
SARAH lifts her RIFLE from her lap. She is the first to FIRE. An
instant later, CHICO FIRES as well.
THE HEAD ON THE TONY-CREATURE IS HIT BY RAPID-FIRE LOADS from each
gun and IT COME APART ABOVE THE EYES. Its body staggers stiffly into
MARIA. She tries to stand, tries to pull away, screams still bubbling
in her torn throat. She topples backward over the side rail. The
corpse, taller and heavier, flips rigidly over, its feet kicking
skyward, and splashes in to the deep, black Gulf.
MARIA, the small of her back balanced precariously on the side rail,
grabs at the air trying to swing her weight back on board. SARAH
springs forward. She reaches the other woman a second too late. Their
hands brush but don't catch. MARIA slips over the side. A LOUD SPLASH
CUTS OFF HER SCREAMS.
CHICO brings the boat about in as tight a circle as possible. He and
SARAH stare out over the water. The blackness out there is absolute.
Visibility zero.
Silence....but for the CHUG-CHUG-CHUG of the boat's engine.
MIGUEL slowly raises his hand and aims his PISTOL at a LARGE, TURTLE-
SHAPED SPLOTCH OF BLOOD on the hull across the cabin, the spot where
TONY died. With that odd grin still on his lips, HE BEGINS TO FIRE
one shot at a time in deliberate, slow rhythm.
THE BULLETS PUNCH HOLES through the wooden side-wall, most of them
hitting squarely in the blood stain.
SARAH looks over toward CHICO who returns her look with frightened
eyes.
32 EXT. GASPARILLA'S ISLAND (EST.) - DAY
It looks like a tropical paradise. Greatly separated from the other
smaller islands on the horizon, its vegetation is dense and lush.
There's no sign that civilisation ever invaded the place, no power
lines, no buildings. What meets the eye is all natural and inviting.
THE FISHING BOAT chugs into a tidewater basin on the afternoon side
of the island.
33 EXT. THE FISHING BOAT (IN THE BASIN) - DAY
CHICO
It looks uninhabited. What do you think?
MIGUEL
I think we should burn the church. Kill the
priest and burn the church. It's the only
way. The only way.
MIGUEL is sweating profusely yet shivering as though cold. FLIES ARE
BUZZING in a cluster around his WRAPPED STUMP. He's over the edge
now, insane. And worse than that, the infection from the original
bite is spreading. The amputation was not done quickly enough to
prevent the parasites from racing through his veins to the brain and
elsewhere.
SARAH turns towards the madman once her lover. Her heart is too
callused for emotion to reach it. She just stares, her eyes dead cold
like the eyes of a shark.
CHICO
I'm pullin' in.
34 EXT. THE ISLAND (WITH THE FISHING BOAT) - DAY
THE BOAT noses into a swamp water backwash. Tall reeds and cypress
moss camouflage it completely. It's at though the boat is sailing
right onto dry land.
SHOCK CUT TO:
35 EXT. THE JUNGLE NEAR THE INLET - DAY
THWOCK! CLOSE ON A MACHETE. The blade chops into the top of a
coconut.
CHICO drinks the milk. SARAH sits on a nearby rock, her RIFLE AND A
BACK-PACK full of supplies strapped over her shoulders.
MIGUEL, his madman's eyes wide with excitement, is trotting urgently
from spot to spot where a spectacular specie of sub-tropical plant
grows. There are hundreds of them, six-feet tall and flowering. Their
red-gold blossoms are shaped like trumpets hanging with their bells
down.
MIGUEL
DATURA!!! DATURA!!! MIRA. DATURA!!!
CHICO
What's he saying?
SARAH shrugs, not knowing. CHICO looks down at her, empathising.
CHICO
His madness....could be from shock.
SARAH
No. I didn't stop the infection in time. I
know.
(She speaks softly, matter-of-factly)
Don't worry. When he dies, I won't be like
Maria. I'll shoot him.
MIGUEL
DATURA!!! DATURA!!! DATURA METEL!!!
36 EXT. THE INLAND JUNGLE - DAY
THE GUERILLEROS hack their way through thick undergrowth with
MACHETES. MIGUEL is ineffectual. He lags behind the others who are
doing trailblazing. THE SOUNDS OF WILDLIFE, excited by the intruders,
fill the close, humid air, sometimes beautiful, sometimes grotesque,
sometimes startling.
37 EXT. A SWAMPY AREA - DAY
ALLIGATORS lurk and SNAKES slither among the reeds. A FOURTEEN FOOT
GATOR opens its jaws wide making a SOUND LIKE ESCAPING STEAM. CHICO
draws his PISTOL but SARAH reaches out to grab his hand.
SARAH
No. No shooting. Not until we're sure we're
alone on this island.
MIGUEL
No. No, thank you. No ice. Straight up,
please. No ice. Thank you.
MIGUEL'S eyes roll up into his head. His knees buckle. SARAH grabs
him under the arms barely keeping from falling face first into the
muddy swamp water. CHICO comes to help.
38 EXT. THE SWAMP - DAY
THE TWO drag MIGUEL to the edge of dry land. They flop him onto his
back and SARAH puts her canteen to his lips.
MIGUEL
NO ICE, I SAID!!! NOOOOO ICE!!!
He slams his good hand against the canteen, knocking it away. It
plops into the marsh water, its contents lost.
MIGUEL
Burn the church. Kill the priest and burn
the church. Burn....
His mouth keeps on shaping words but no sound comes out. He squirms
for a moment, then he seems to fall asleep.
CHICO looks down at him. Unable to help, he moves off towards solid
ground and disappears in the thick brush. After a time, SARAH follows
after him.
39 EXT. THE CAVE ENTRANCE - DAY
CHICO is at the edge of a clearing when SARAH reaches him. His eyes
are wide, frightened by what they see.
In the ground before them there's AN ENORMOUS IRON PLATE, fifty feet
by ten, all painted in brown and green camouflage patterns.
SARAH
What is it?
CHICO
I dunno. Landing pad for a helicopter? I
dunno.
Suddenly there's A GREAT RUMBLING, like the giant gears and pistons
of a drawbridge being activated. The iron plate shudders and starts
to move, downward, into the earth. SARAH AND CHICO duck into the
nearby jungle.
40 EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY
They take cover in a thicket, both their GUNS up and ready. OTHER
SOUNDS can be heard now, clunking sounds of metal on metal, and a few
heavy thuds. There are also VOICES on the wind but their words are
indistinguishable.
CHICO
It's some kind of....elevator. There must
be something under the ground
here....maybe....military.
SARAH
Look.
41 EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY
SEVERAL FIGURES are rising up in to view, a dozen, maybe fifteen.
Details are obscured by FOREGROUND FOLIAGE but we can read helmets,
heavy armaments, packs, utility belts. The impression is of a ghostly
cadre of soldiers rising from hell.
SARAH (o.s.)
Jesus Christ!
CHICO (o.s.)
It is military. I don't believe it.
42 EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY
CHICO
What do we do? Let'em know we're here....or
what?
SARAH
Let's just....wait a minute. Get a better
look.
She moves to another spot a few feet away. CHICO follows.
43 EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY
THE PLATOON OF SOLDIERS, still obscured by foliage, moves off into
the jungle carrying A COLLECTION OF PARAPHERNALIA.
There are THREE SOLDIERS who do not move off with the others. They
are standing still with their shoulders slumped, their heads lolling
listlessly from side to side. They have the body attributes of
prisoners yet there's something menacing about them. We HEAR A SERIES
OF ELECTRONIC BEEPS, something like computer beeps, and, as though in
response to that signal, the three slumped figures start to walk.
They move slowly, stiffly, their feet shuffling, their arms dangling
lifelessly at their sides.
SARAH (o.s.)
Oh....oh, my God.
44 EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY
SARAH'S eyes are wide in their sockets with disbelief, revulsion,
horror. Beside her CHICO, also astonished, makes the sign of the
cross.
SARAH
OH, MY GOD!!!
45 EXT. THE CAVE ENTRANCE - DAY
As we CUT IN CLOSER we see that the three slumped figures are
ZOMBIES. They are wearing khakis and they are armed with RIFLES AND
PISTOL BELTS. Their HELMETS have been painted an identifying bright
RED and they wear slipover vests dyed the same bright colour.
All the others in the platoon are humans. They, too, wear vests but
theirs are not red but WHITE, WITH LARGE ORANGE CIRCLES emblazoned
front and back. Two of the men wield LONG ELECTRIC CATTLE PRODS for
use should the ZOMBIES misbehave, but the creatures, amazingly, are
shambling along with the rest of the platoon voluntarily, co-
operatively, even somewhat excitedly....the kind of excitement seen
in a puppy that's just learned a new trick.
46 EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY
CHICO
It can't be. Are we truly in hell?
SARAH
Come on.
Stealthily the woman moves along the edge of the thicket, crouching
all the while. CHICO hesitantly follows.
47 EXT. A CLEARING - DAY
The mysterious PLATOON begins "setting up" their equipment, which
includes TRIPOD MACHINE GUNS. TWO MEN don BLACK RUBBER GLOVES AND
LONG BLACK LABORATORY APRONS. They strap LARGE REFRIGERATED CARTONS
around their necks and open the sealed lids. VAPOUR mushrooms out
like dry-ice vapour out of Good Humour wagons on a hot day.
48 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH AND CHICO watch. Suddenly THE HUGE, FULL-THROATED SOUND OF A
SIREN startles them. They look around, up into the trees. SARAH spots
something and points.
CLOSE ON A SIREN HORN, high in the cypresses, its wires running down
to the brush and disappearing under ground.
49 EXT. THE CLEARING - DAY
First ONE comes....then TWO MORE....THREE MORE. ZOMBIES are shuffling
out of the jungle and converging on the platoon.
They seem to come from everywhere. Soon there are twenty or more.
Most are tattered and ragged but others wear vests, the same type as
worn by the platoon. These are solid colours, some white, some blue.
None are red and none have orange circles.
As THE ZOMBIES push in closer they seem to get agitated. They start
growling and reaching out. THE MEN WITH THE CATTLE PRODS poke at the
more unruly creatures and ZAPPING SOUNDS can be heard.
The creatures form a kind of ragged queue, lining up in front of the
"Good Humour" men. From inside their freezer cartons those men
produce GREAT BLOODY CHUNKS OF RAW MEAT. THE ZOMBIES docilely take
the hand-outs and go lurching out of the queue, some starting to eat
immediately, others retreating into the cool of the jungle to enjoy a
more private supper.
50 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH
What is that? Could that be....?
Behind her, CHICO gets the dry heaves. He slams his hand into his
mouth to keep from making noise.
SARAH
No. They must have gotten them to
accept....other things. They wouldn't be
feeding them with....they wouldn't...
51 EXT. THE CLEARING - DAY
The man in command of the platoon is obvious, strutting around while
others do the dirty work. This is CAPTAIN RHODES. He's
conscienceless, the low of the low, and a weasely-looking guy, to
boot. He watches the operation almost hoping for trouble. (He loves
to torture disobedient zombies.)
Behind him, their AUTOMATICS ready, are SEVERAL TROOPERS especially
assigned to protect the captain. One of these troopers is TOBY TYLER,
a good guy. TOBY is revulsed by the scene in the clearing. He drops
his head, almost gagging. RHODES notices.
RHODES
You'll get used to this, Tyler. It's the
only way. They don't bite the hand that
feeds.
TOBY looks up. He can't conceal his contempt for the captain. RHODES
reads it in his eyes and is about to say something when a SOUND
distracts him.
ONE OF THE RAG-TAG ZOMBIES is running amok. THE ZAPPERS poke at the
creature but that just makes it angrier.
RHODES
GET THAT THING AWAY FROM THE OTHERS!
BRING IT HERE!
ONE TROOPER has A LONG POLE WITH A WIRE NOOSE ON THE END. He drops
the noose over the wild zombie's head and the wire tightens, biting
into the dead flesh on the thing's neck. The pole is long enough to
control the creature while keeping it out of reach.
52 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH watches, repulsed but fascinated. CHICO is still fighting the
heaves. Without warning, A ZOMBIE looms up directly behind CHICO. The
man jumps forward, terrified. He crashes into SARAH who spins and
sees the danger.
TWO MORE ZOMBIES appear. Then A THIRD. These have no vests. They're
rag-tag, bad ass and hungry as hell. ONE OF THEM grabs SARAH. She
manages to pull away but behind her CHICO panics. He raises his RIFLE
and...RATTATATTATATT!
53 EXT. THE CLEARING - DAY
RHODES hears the GUNFIRE. He seems pleased. He grins.
RHODES
We have visitors. Let's go men.
He moves slowly towards the thicket followed by TOBY TYLER AND
SEVERAL OTHER SOLDIERS. He reaches down to his belt and pushes one of
THREE BUTTONS on A UNIT that resembles a pager. ELECTRONIC BEEPS,
like the ones we heard earlier, come from the unit, this time in a
different pattern.
THE RED COAT ZOMBIES respond quickly. They draw their PISTOLS and go
marching off after their leader, grunting and snorting like bull
apes. RHODES' grin breaks into a wide-open laugh.
RHODES
Hah! If only the rest of you ladies would
obey orders the way they do.
54 EXT. THE JUNGLE NEAR THE CLEARING - DAY
Their cover blown, SARAH now raises her RIFLE. BUDDABUDDA!!!
THE SECOND ZOMBIE'S HEAD TURNS TO RED PULP and the thing pitches
forward, dead.
CHICO FIRES and THE THIRD ZOMBIE IS DESTROYED.
Suddenly there is DISTANT FIRE, from the clearing. BULLETS WHIZ
through the brush. The guerilleros duck for cover.
55 EXT. THE CLEARING - DAY
THE RED COAT ZOMBIES, shuffling forward abreast in a line, have
OPENED FIRE. It's a grisly parody of foot-soldiering. The creatures
are unsteady on their feet, their hands shake when they squeeze the
stiff Army-issue triggers. BULLETS FLY this way and that, most of
them grossly off target.
RHODES
THAT'S IT, YOU WORM-EATEN SLIME ! YOU FOUL-
SMELLING, PUSS-FACED MAGGOTS! I TOLD YOU
I'D FIND YOU REAL ACTION, DIDN'T I? YOU
CORRUPTION! YOU FILTH! YOU'RE LEARNING!
YOU'RE GETTING BETTER....GETTING
BETTER...GETTING BETTER, YOU SCUM!
The trooper beside TOBY is another young man whose nickname is
TRICKS. He and TOBY exchange glances as they trudge along behind the
captain and his zombie red coats. Their eyes tell us that they both
think Rhodes to be insane, which of course he is.
56 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH moves to retreat but CHICO lifts his rifle and FIRES wildly
into the clearing.
CHICO
NO! NOOOOO! NOOOOOOOOOOOOOOOO!!!
57 EXT. THE CLEARING - DAY
TWO OF THE RED COATS ARE HIT, but not in the head. Their brains keep
functioning and they march on.
RHODES
SPREAD OUT, MEN! OPEN FIRE!
Whatever else he is, RHODES seems fearless. He stands in the open as
his human soldiers fan out. He notices that the RED COATS are out of
ammunition. He pushes another button on his belt unit and MORE BEEPS
SOUND. THE RED COATS stop in their tracks. They dump the SPENT SHELLS
from their weapons and reload using fresh rounds from their belts.
Their fingers are stiff. Three bullets fall to the ground for every
one that finds its way into a gun chamber.
The SOLDIERS HAVE OPENED FIRE NOW. They are closing in on the
thicket.
58 EXT. THE JUNGLE NEAR THE CLEARING - DAY
CHICO IS HIT high on the right side of his chest. SARAH FIRES A QUICK
BURST out into the clearing as she tries to pull the man deeper into
the jungle.
Suddenly, from right behind SARAH's back, comes A BLOOD CURDLING
SCREAM. A DARK FIGURE LOOMS UP startling us all.
MIGUEL
BURN THE CHURCH! KILL THE PRIEST!
It's MIGUEL, sweating, his eyes sunken into deep black sockets. He is
charging toward the clearing with his AUTOMATIC BLAZING in his one
good hand. He thunders right past SARAH almost knocking her down.
59 EXT. THE CLEARING - DAY
MIGUEL breaks out of the thicket into clear view of the SOLDIERS.
RHODES sees the one-armed wild man and his grin dissipated slightly.
He draws his own PISTOL, an enormous Magnum, an elephant stopper.
SOLDIERS, taken by surprise, scatter, TOBY AND TRICKS among them.
MIGUEL'S BULLETS DRAW A LINE ACROSS ONE SOLDIER'S CHEST. He dies
instantly.
MIGUEL
KILL THE PRIEST! BURN THE CHURCH!
BURN! BURN! BURN! BURN! BURN!
NOW MIGUEL IS HIT but he keeps coming, his GUN SPITTING.
ANOTHER SOLDIER goes down, HIT IN THE MID SECTION.
THE PLATOON RETURNS FIRE.
MIGUEL IS HIT SQUARELY IN THE CHEST. He falls to his knees. His RIFLE
FIRES A LINE OF BULLETS INTO THE EARTH and the kicking of the gun
knocks him back on his ass. He sits there bewildered for a moment,
then he looks up to find himself directly facing CAPTAIN RHODES.
RHODES lifts his MAGNUM but MIGUEL is faster with his RIFLE. In the
next instant the muzzle is aiming straight for the captain's stomach.
RHODES' smile disappears, re-placed by a sudden flush of fear. He
freezes.
MIGUEL
Kill the priest.
MIGUEL squeezes the trigger and his weapon CLICKS sharply. It's
empty.
The captain's smile slowly returns. He pushes the "Attack" button on
his belt unit.
THE RED COATS advance, their PISTOLS reloaded. THEY FIRE, stiff-armed
and fumble-fingered, at MIGUEL. He sees them moving towards him.
Something in his mind clicks and he recognises the creatures for what
they are...walking dead.
THE FIRST FEW BULLETS MISS. Then ONE HITS HIM IN HIS STUMP and
reality gets even clearer. He starts to scream.
THE READ COATS walk closer, their dead eyes showing enjoyment of the
sport. BLAM! BLAM! BLAM! BLAM!
ANOTHER ROUND HITS MIGUEL IN THE STOMACH. ANOTHER CREASES HIS HEAD.
He tries to stand up but he's too weak. A BULLET IN THE NECK stops
his screaming. Then HE'S HIT IN THE HEART. A BALL OF BLOOD PROJECTS
OUT OF HIS MOUTH and he plops onto his back, dead.
THE READ COATS KEEP FIRING until their guns are empty again. RHODES
calmly pushes the "Reload" signal and the creatures obey.
MIGUEL'S CORPSE twitches for a short time, then goes rigid.
60 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH sinks against a cypress when she sees MIGUEL die.
CHICO, in a state of blind panic, takes off along the edge of the
thicket, his WOUND BLEEDING PROFUSELY.
61 EXT. THE JUNGLE NEAR THE CLEARING - DAY
CHICO breaks through some brush to find himself face-to-face with
TOBY TYLER'S GROUP OF SOLDIERS. He stops, reverses course, and ducks
into a cluster of palms. ONE OF THE SOLDIERS FIRES.
RATTATATTATATTATATT!!!
BULLETS RIP THE PALM FRONDS APART. There's a scream and CHICO
somersaults out into view. NEW WOUNDS BLEEDING ACROSS THE CENTER OF
HIS CHEST.
62 EXT. THE JUNGLE NEAR THE CLEARING - DAY
SARAH realises that this is her last chance to escape. She takes
advantage of the confusion and the NOISE and bolts into the jungle at
a full run.
63 EXT. THE JUNGLE NEAR THE CLEARING - DAY
CHICO is still alive. He fumbles for his HOLSTERED PISTOL but before
he can draw it THREE TROOPERS are on top of him. TRICKS tromps a boot
on his hand. TOBY TYLER aims his RIFLE squarely at his sweating brow.
CHICO
Yes...yes, do it...please...you can't let
me die this way...please. Destroy me. A
bullet...in the head...I don't want to
become...one of...one of them.
TOBY looks down at the man, at his TERRIBLE WOUNDS, clearly fatal
ones. TOBY clicks a shell into the firing chamber of his RIFLE. His
finger is just sliding under the trigger shield when CAPTAIN RHODES
strides up behind him.
RHODES
Take his weapon, Tyler.
TOBY is startled by the voice at his back. He turns towards the
captain, then he looks back down at the guerillero, hesitating..
RHODES
Take his gun, ass hole. He still has the
strength to pull a trigger.
Reluctantly TOBY obeys, reaches down for CHICO'S PISTOL.
CHICO
Please...senor...destroy me...one
bullet...please.
RHODES
Maybe. We'll have a little talk first.
Then....maybe...I can help you out. String
him up.
THE THIRD SOLDIER reaches down and grabs the wounded guerillero under
the arms. TRICKS stoops to help. CHICO screams in agony when he is
moved. TOBY lunges in to help the others, thinking to ease the man's
pain.
RHODES
They can handle it, Tyler. You've been
buckin' for a shit detail lately so here's
one you're gonna love. We've got two dead.
Cut the heads off and get the bodies
underground to the refrigerators. Fast.
It's a hot day.
TOBY grimaces but doesn't speak. He turns and moves briskly towards
the clearing. RHODES watches him go.
64 EXT. THE CLEARING - DAY
TOBY nears the spot where MIGUEL lies sprawled in A POOL OF BLOOD.
RHODES calls from the edge of the thicket.
RHODES
Tyler. Just our men. Not him.
TOBY looks down at the remains of the one-armed guerillero.
RHODES
His head stays where it is. He and I never
really had the chance to get acquainted.
When he comes back...I'll get another shot
at it... Ha ha ha ha...
65 EXT. THE CLEARING - DAY
CLOSE ON CHICO. He's dangling from A ROPE which is tied over a tall
tree, his feet ten feet off the ground.
ZOMBIES wander here and there. They've all received their rations.
The picnic is breaking up now. Occasionally one of them gets surly
but it doesn't amount to anything. SOLDIERS stand ready with ELECTRIC
PRODS, OTHERS with GUNS.
PARAPHERNALIA is being packed away. MEN CARRY EQUIPMENT in the
direction of the elevator.
RHODES walks up beneath where CHICO is hanging. He's careful not to
step in too close. He doesn't want to get any DRIPPING BLOOD on his
uniform.
CHICO
Please....shoot me.
RHODES
And if I don't? If I don't you'll come back
after your death. You'll come back and find
yourself hanging there...wanting to
eat...needing to eat human flesh. You hate
that thought, don't you? That's the
ultimate sin for most of you fools, isn't
it?
CHICO is weeping now. With a found spurt of energy he struggles
against the rope. No use. It only brings pain.
RHODES
After hanging up there a few days you will
be mad for food...crazed! You will lust for
it! YOU WILL BE WORSE THAN ANY OF THEM!
CHICO
NO...NOOOOOOO...SHOOT ME! SHOOT ME!
SHOOOOOOOOOT MEEEEEEEEE!!!
RHODES
I'll bargain with you. How many of you are
on the island?
CHICO
Two of us...only two of us...me...and him.
(He nods towards MIGUEL'S CORPSE.)
RHODES
I don't believe you, rebel. Where are your
headquarters? On the mainland?
CHICO
The mainland...is dead...a dead
place...nobody there...
RHODES
Where are your headquarters, rebel? Tell me
or I'll let you hang there
forever...FOREVER!
CHICO
There are no...headquarters. There are
no...rebels. Only the walking dead. Don't
you see. They have won.
RHODES
Then why did you come here?
CHICO
To look...look for a place...a place to
live in...an empty place...a...
new...place...
RHODES
How did you know we were on this island? Do
others know? Will others come?
CHICO
Nooooo. Believe me. There are no
others...no rebels...nobody...it's
over...it's ooooo....
The man collapses, unconscious.
66 EXT. THE CLEARING - DAY
CLOSE ON THE DISEMBODIED HEAD OF ONE OF THE DEAD SOLDIERS. TRICKS is
dropping the thing into A LARGE PLASTIC BAG which obviously already
contains THE SECOND HEAD. TOBY wraps the mouth of the bag and begins
to walk off. RHODES stops him.
RHODES
Where are you going, Tyler?
TOBY
My..."detail", sir. We're going to bury the
heads.
RHODES
No time for that. I'll take care of them.
TOBY
Just....following procedure, sir. They're
entitled to burial.
RHODES
I said, I'll take care of them. Just leave
them there. Go help with the rest of the
gear.
RHODES has it in for TOBY (we'll find out why later), and of course
the feeling is mutual. TOBY sets the bag down on the ground and,
seething, he trots off towards the rest of the platoon. TRICKS
follows.
After a moment, RHODES motions with his head. THE SOLDIER WITH THE
LONG NOOSE POLE steps into view with the CAPTIVE ZOMBIE, the one that
ran amok earlier. The man follows RHODES towards the jungle, dragging
the gurgling creature along, the wire noose digging into the thing's
neck.
67 EXT. THE JUNGLE NEAR THE CLEARING - DAY
CLOSE: as RHODES' GLOVED HAND jams A HAND GRENADE into THE CAPTIVE
ZOMBIE'S gaping mouth. THE SOLDIER WITH THE POLE releases the noose
and the two men take off, running.
68 EXT. THE CLEARING - DAY
They run to the middle of the clearing where they turn around to
watch. RHODES lifts A PAIR OF BINOCULARS that are strapped around his
neck. He stares through the lenses, focusing, grinning.
69 EXT. THE JUNGLE NEAR THE CLEARING - DAY
THROUGH THE BINOCULARS: We see THE ZOMBIE staggering in the bush,
clawing desperately at the thing jammed in its mouth.
70 EXT. THE CLEARING - DAY
TOBY AND TRICKS are the only ones who seem to notice what RHODES has
done. TOBY drops THE CRATE he was going to carry off. He stares in
disbelief, hatred on his face.
71 EXT. THE JUNGLE NEAR THE CLEARING - DAY
WIDE SHOT as THE HEAD OF THE ZOMBIE DISINTEGRATES WHEN THE GRENADE
EXPLODES.
72 EXT. THE CLEARING - DAY
RHODES grins as he watches the spectacle.
Suddenly, A LOUD GUNSHOT startles the captain. He drops the
binoculars and spins around. He sees...
...CHICO'S BODY DANGLING ON THE ROPE. CHICO'S HEAD IS BLOODY. He's
dead...and won't come back to life. He's been shot through the brain.
RHODES
WHO FIRED THAT SHOT? WHO FIRED THAT SHOT?
SOLDIERS stand around dumbly. Those with RIFLES in their hands
quickly sling them onto their shoulders. They're all afraid of the
captain's wrath. RHODES walks towards the line of men with fury in
his eyes.
RHODES
Goddammit, somebody's gonna tell me who
fired that shot or I'll have every last one
of you chopped up for feed!!!
His eyes spot TOBY, standing behind the crate he dropped earlier, his
rifle slung.
RHODES
Step up here, Tyler.
TOBY
Sir!
TOBY shouts the word like a West Point cadet and he bravely steps
forward. RHODES stares him down, his anger turning sinister.
RHODES
You fired that shot, didn't you?
TOBY
No, sir.
RHODES
Let me see your weapon.
TOBY hands over his rifle. RHODES feels the barrel, sniffs it.
RHODES
It's been fired.
TOBY
In the battle, sir.
RHODES is sure he's found the guilty man and he's glad it turned out
to be his favourite whipping boy. His body relaxes visibly.
RHODES
It may be that none of these chicken-shits
will talk while the whole troop is
present...but I know some of these men
well. I'm sure that a few private
conversations will tell me what I already
know. You may have earned yourself some
time in the Stalag, Tyler.
(Rhodes glances over at CHICO'S body)
Cut him down. That's another head for you
to chop off. Leave it with the others. Take
the rest of his body down to the freezers.
Move it, shit hill.
TOBY moves off. RHODES' grin returns.
CUT TO:
73 INT. THE CAVE ENTRANCE - EVENING
There's that GIANT SOUND again, the RUMBLE OF THE ELEVATOR. We're
inside the place called THE CAVE, in a huge under-ground concrete
bunker. TECHNICIANS AND ARMED GUARDS bustle around. Enormous
hydraulic pistons are bringing the camouflaged iron plate down from
the surface. Riding on board, RHODES AND HIS PLATOON prepare to
unload their paraphernalia.
74 EXT. THE JUNGLE - EVENING
SARAH, sweating, exhausted, BLEEDING FROM CUTS made by jungle
branches, wrings out a piece of cloth torn from her sleeve. She has
dipped it into a jungle stream. Cautiously she tastes the water,
decides to chance it and squeezes the cloth into her mouth.
The NIGHT BIRDS suddenly stop their singing and the quiet makes SARAH
look up. Standing across the stream, only ten feet away, is A
PARTICULARLY GROTESQUE ZOMBIE. VULTURES stand on the marshy ground
beside the creature's legs, THEIR SHARP BEAKS PICKING BLOODY HOLES IN
ITS ANKLES AND FEET.
SARAH jumps to her feet, fighting back exhaustion one more time. She
unslings her RIFLE, aims it, then thinks better of firing. Grabbing
up her SUPPLY PACK she runs into the darkening jungle.
75 EXT. THE JUNGLE - EVENING
WHAM! TWO BIG HANDS GRAB SARAH by her shoulders. She starts to scream
but one of those hands shoots up to cover her mouth.
JOHN
It's alright. It's alright. Don't be
afraid. We're friends.
SARAH looks into the strong, good face of JOHN, a tall muscular man,
a Caribbean Islander with shiny black skin and enormous brown eyes
that seem instantly trustworthy.
JOHN
There are soldiers near here. Guards. I'll
take my hand away if you won't scream.
SARAH nods and JOHN lets her go. There are two other humans standing
behind the big man. There's BILL McDERMOTT, wearing the grease-
covered jump-suit of a mechanic and swilling generous shots of brandy
from a hip flask, and there's a smallish woman with a sensitive face
who, apparently out of character, is armed to the teeth. She's a deaf
mute, nicknamed SPIDER, and she is urgently signing "Come on! Let's
get outa here!" with her hands.
JOHN
Right. We better get away from that Bee. He
might have friends.
THE GROUP starts moving. SARAH follows voluntarily. We notice that
all three strangers are wearing the same pullover vests that we saw
on the foot soldiers, the ones with big orange circles.
76 EXT. THE JUNGLE - EVENING
THE GROUP trudges through thick brushland, occasionally needing to
chop a path with their blades. JOHN speaks in low tones as they move.
JOHN
Bees. That's what we call the dead... the
walking dead...here on Gasparilla's island.
SARAH
Gasparilla?
JOHN
He was a pirate who sailed these waters
long ago. His name is bein' borrowed these
days by the long lost Henry Dickerson.
SARAH
Governor Dickerson? Of Florida?
JOHN
That's the man. He's been holed up here
ever since the shit hit the fan. Him and
his family owned these islands 'round here.
They was leasin' this one to the Fed. The
whole underneath is dug out. There was
missiles here and laboratories and bomb
proof housing, nuclear power, all o' that.
Now this is Dickerson's....Gasparilla's...
private fortress. Him and a bunch o' his
cronies from all the best golf courses in
Tallahassee...and his private army, of
course.
SARAH
We ran up against a platoon of soldiers.
There were actually walking dead...in
uniform...with guns.
JOHN
Captain Rhodes and his Red Coat Bees. They
could sting, sister. We know you came up
against 'em. We been watchin' you since you
landed. Couldn't help. I'm sorry for that.
We ain't supposed to be outside. If we was
spotted it could....well, it could be the
end of everything.
SPIDER is signing for everyone to be quiet. They all stop in their
tracks. BILL McDERMOTT swigs some more brandy. With the stealth of a
Mohican SPIDER pushes aside the branches of a giant oleander and
peers through.
77 EXT. ENTRANCE TWO - EVENING
There's A HATCHWAY in sight built into A CONCRETE, BUNKER LIKE
STRUCTURE. FOUR OR FIVE SOLDIERS are coming up out of the ground.
They're armed with PRODS AND RIFLES.
Behind the men, lurching on unsteady feet, come A HALF-DOZEN OF THE
LIVING DEAD, all wearing vests of white and blue.
Behind the lumbering creatures come A WOMAN AND A MAN both wearing
white laboratory coats and carrying clipboards. The woman is MARY
HENRIED, one of the top behaviouralists in The Cave. (We'll learn a
lot more about her later.)
THE ZOMBIES are pushing through the undergrowth right in the
direction of SARAH and her friends. SARAH shows some alarm at this
but JOHN calms her with a strong hand.
SPIDER has seen the approaching danger. She silently draws A FARMER'S
SICKLE from her belt. (With her other hand she draws A PISTOL for
good measure.) BILL McDERMOTT unarmed, nervously takes another
swallow from his flask.
THE ZOMBIES are getting closer. Too close for comfort.
Finally, MARY HENRIED and THE OTHERS turn and disappear into the
bunker. The last man down pulls the hatch shut.
The moment the coast is clear, SPIDER AND JOHN jump up from cover.
THE OTHERS follow their lead. But it's too late. THE ZOMBIES have
spotted them. The creatures begin to growl and make AGITATED, APE-
LIKE SOUNDS. SPIDER brings her BLADE up chest-high, ready to repel an
attack. SARAH lifts her own MACHETE but JOHN reaches over and takes
it away from her.
JOHN
Give that to me. Get behind me. Stay behind
me.
(SARAH resists, not understanding, somewhat
insulted.)
You ain't wearin' a vest. They been taught
not to touch the ones with the circles.
There ain't no hundred percent, all-a-time
rules with the Bees, but most-a-time they
leave us alone. The colour on their vests
tell ya how much schoolin' they got. It's
the ones without colours you gotta watch
out for.
SARAH gets behind JOHN, his orange circle acting as her shield. He
reaches around with one strong arm and pulls her in tight against his
back.
THE ZOMBIES, snarling and showing teeth, move through the thicket.
ONE shuffles right past SPIDER AND McDERMOTT. It gets stuck in the
bramble, changes course and moves on without attacking.
ANOTHER ZOMBIE, a "white", trudges within arm's reach of JOHN,
growling all the while. Suddenly it reaches its arms out and takes
two angry steps towards the humans who back away.
THE ZOMBIES charges. Things happen quickly. JOHN pushes SARAH away
and swings the MACHETE. THE BLADE SINKS INTO THE CREATURES SKULL.
BLACKENED BLOOD FLIES. An instant later SPIDER'S SICKLE PUNCHES IN
BESIDE THE BIG KNIFE. THE ZOMBIE twitches for a moment, its eyes
rolling, then it falls, lifeless, to the ground.
McDERMOTT trots up beside SARAH. He takes a huge swallow from his
flask then offers some to her. She puts the flask to her lips but
nothing comes. She holds it out, neck down, to show that it's empty.
McDERMOTT
Sorry. Guess I don't know my own strength.
JOHN wipes SARAH'S MACHETE on some thick leaves, cleaning off most of
the gore, then he returns the weapon to the woman.
SARAH
Thanks. I can fight my own battles.
JOHN
I know you can. Like I said, we been
watchin' you.
McDERMOTT
We better get as far away from here as we
can. We can work the other side of the
island tonight.
JOHN
(explaining) We found nine entrances to the
Cave so far, and we ain't got the whole
thing near charted yet. That's what we was
doin' out here today. Huntin' for
entrances.
McDERMOTT
Come on. They find a Bee done like this and
they'll know somebody's been out walkin'
where they shouldn't have been.
JOHN bows his head over the downed ZOMBIE. He mumbles softly. We
can't hear the words but we can tell that he's praying, reciting the
good words over the corpse of the "white-coat".
SARAH
The man I was with...until today...
believed that praying was for blind men who
couldn't see the truth.
JOHN
How we gonna break the curse without a
prayer or two.
SARAH
Curse?
JOHN
What is it if it ain't a curse?
SARAH
It's a disease. It's a...a bug...a parasite
that infects the brain.
JOHN
That sounds like a curse to me.
SARAH
We thought we were escaping here. We
thought we'd found an uninhabited island.
Christ! This place is a worse nightmare
than anything I've seen yet!
JOHN
I'm sure that's true, miss. And that's why
we're doin' what we're doin'. What's
happenin' underground here is just what
Lucifer planned for this sinful race o'
man. But we're gonna beat Lucifer. We're
gonna put an end to what's happenin' here.
SARAH
Oh, what did I run into? A bunch o' Jesus
nuts? Religiosos? Prayer won't stop a
bullet from one of those storm troopers and
prayer won't keep one of those monsters
from eatin' your liver for lunch.
JOHN
That's why we didn't use prayers on this
here white coat 'til after he was
destroyed. We ready to fight when we have
to. And we gotta fight now.
SARAH
Look. I BEEN fightin', mister. I been
fightin' for what feels like a hundred
years and I'm finished. I don't need
religion. I don't need prayers. I need a
couple guns and a couple hands. We can sail
on outa here. Find another island where
there ain't so much....traffic.
JOHN
You think you can find your boat? There's a
thousand little inlets and backwaters all
through here. You remember all the ways you
turned to get where you are now? You leave
yourself a trail?
SARAH is stopped by this. She stares at the big man suspiciously, not
sure whether to believe him.
JOHN
We didn't see the exact spot but we know
about where you landed. But we ain't ready
to take you there. Not yet. You see...we
need guns, too.
SARAH looks around her at the unlikely band of guerillas. She thinks
for a moment...not very long...then she turns and starts off into the
jungle.
SARAH
I can find it myself. I didn't come that
far.
JOHN
Farther than you think. You'll get lost.
You will. And there's Bees all through the
jungle. I ain't lyin' to ya. Religiosos
don't lie.
SARAH
No. They just try to hold you for ransom.
Fuck you, Moses! I'm outa here!
SARAH plunges into the brush and without so much as a look back over
her shoulder she disappears.
McDERMOTT
We can't let her go, John.
JOHN
We don't need her guns that bad. Billy boy.
(He's joking.)
McDERMOTT
The hell we don't! But that's not what I
mean. She'll be dead in ten minutes out
there alone. That or she'll be firin' off
her automatics and wakin' up the troops.
JOHN
We'll split up. Billy, you go with Spider.
Just an hour or two tonight, that's all.
Rhodes might have extra guards on after all
the commotion. We'll meet up at number six
and go back home together.
McDERMOTT
God save us. And me with me flask dry. I'll
never make it.
THE GROUP splits up, moving off in two different directions through
the darkening underbrush.
78 EXT. SOMEWHERE IN THE JUNGLE - NIGHT
DARKNESS has fallen. The jungle is as black as the background on a
velvet painting.
SARAH is moving cautiously. She bumps into something, jumps back, her
MACHETE high, and freezes. Cautiously she moves ahead...one
step...another...another...
SPLASH!!! She steps down off a hidden ledge into A KNEE-DEEP RIVER.
She manages to keep her balance but her MACHETE falls into the water
and drops to the bottom invisible in the dark silt. Slowly she bends
down and reaches into the water. A SNAKE swims past just inches away.
SARAH recoils. Before she can reach down again she hears A LOUD,
ANIMAL SNORT followed by A GREAT SPLASHING SOUND. Then ANOTHER. She
squints to see.
SHAPES approach on the black water. ALLIGATORS, big ones, just their
very tops showing as they move on a straight course toward the woman.
She backs up feeling for the shore, for the ledge behind her. THE
FIRST ZOMBIE GRABS HER SHOULDERS. She spins and sees the thing. It
has one eye dangling out of its socket and there's a broken-off
length of wooden pole stuck clean through its torso just under the
left breast.
SARAH smashes her RIFLE BUTT INTO THE THING'S HEAD. AGAIN. AGAIN. It
keeps coming. (So do the gators. They're getting to within a few
yards.) SARAH swings a fourth time. THE ZOMBIE grabs her rifle. She
pulls with all her might and the creature, hanging on to the gun,
topples off the ledge and into the water.
When SARAH starts to climb up on the ledge, ANOTHER ZOMBIE lurches
towards her from dry land. She spins around, looking for options. The
gators are just about close enough to bite her ass and THE ZOMBIE
that fell into the river is rising up again, covered with moss and
slime and looking pissed.
SARAH faces THE ZOMBIE on the bank. She has no choice. She aims her
AUTOMATIC. She's just about to fire when SOMETHING FLASHES out of the
darkness. It's A MACHETE. IT CLEAVES OPEN THE ZOMBIE'S SKULL. From
out of the night big JOHN appears. He struggles to free his blade
from the dead creature's head.
SARAH scrambles up onto the muddy ledge. THE GATORS are still moving
in and THE ZOMBIE, its moss-covered arms reaching out rigidly like
the arms of Frankenstein's monster, is growling ferociously (almost
swallowing its own dangling eyeball in the process).
SARAH
Are you gonna pause to say words over the
dead this time or can we be on our way?
Without answering, JOHN steams off through the bush pulling SARAH
along behind him, his big hand tight around her arm.
79 INT. THE CAVE - NIGHT
CLOSE on: A TELEVISION SCREEN. First there is only VIDEO NOISE, then
an image blinks onto the screen.
MONTAGE: OTHER VIDEO SCREENS on MONITORS in various places throughout
the huge underground facility. ZOMBIES watch the screens gathered in
groups of four, six and eight, like children in ranked classes.
The screens show scenes of ZOMBIES taking FOOD from humans in ORANGE
CIRCLE VESTS. GUNS are pointed at ORANGE CIRCLES then lowered
harmlessly. GUNS are pointed at HUMANS without orange circles and
FIRED. The images repeat and repeat and repeat. THE ZOMBIES watch the
scenes with dumb curiosity.
80 INT. COMMUNICATION CENTER IN THE CAVE - NIGHT
This is the central area for all varieties of communication. There
are RADIO CONSOLES, both intercom and outgoing, there are VIDEO
CONTROL PANELS and there are LARGE COMPUTER TERMINALS. Reflecting the
panic to set up operations back when the disaster first struck, much
of the equipment is placed haphazardly and not built in. WIRES run
every which way, BARE ANTENNAS AND LOOSE CONNECTORS clutter the
place. ENGINEERS scurry with TOOL BOXES constantly repairing,
patching, trouble shooting.
Most of the personnel are TECHNICIANS but there is a group of
SCIENTIFIC TYPES, obvious in their white lab coats. Among these is
MARY HENRIED, who we caught a glimpse of outside Entrance Two.
At A SECURITY STATION, A GUARD notices something on one of his own
VIDEO SCREENS which monitor key locations inside The Cave.
GUARD
There's activity in the dormitory!
MARY and one of her assistants, JULIE GRANT, a younger girl, move
over to the video console. ONE SCREEN there shows what looks like a
prison corridor. CELLS WITH HEAVILY BARRED DOORS run down both sides.
We can see the distinct MOVEMENT OF SHADOWS in the corridor. MARY
reacts instantly stepping over to AN INTERCOM and pressing A SEND-
BUTTON.
VOICE (o.s. - filter)
Gate twenty-three.
MARY
This is Mary Henried. Did anyone enter the
dormitory?
VOICE (o.s. - filter)
Yes, ma'm. Captain Rhodes.
MARY clicks off, infuriated. She hurries towards AN EXIT followed by
JULIE GRANT.
81 INT. THE DORMITORY IN THE CAVE - NIGHT
CLOSE ON: THE MOUTH OF A LARGE PLASTIC BAG. A HAND wearing A BLACK
LEATHER GLOVE pulls A HUMAN HEAD out of a bag by its hair. It's the
head of one of the dead soldiers from Rhode's platoon. The hand
belongs to RHODES himself.
In the darkness of A CELL, A RED COAT ZOMBIES takes a hesitant step
forward. RHODES tries to shove THE HEAD through the bars but IT
STICKS. When RHODES lets go it stays there, wedged at shoulder
height.
RHODES
Take it, friend. Take it. It's a present.
From me to you.
THE RED COAT steps forward and lays its hand on THE HEAD.
RHODES
Just remember who gives you favours.
THE ZOMBIE pulls hard and THE HEAD pops through onto its side of the
bars. The creature lurches off towards A COT in the shadows at the
rear of the cell where it hunkers down and begins to RAVISH THE HEAD,
TEARING FLESH OFF, EATING IT hungrily.
On the cell door we notice A PLAQUE with a number (5) and, written in
marker, the Red Coat's nickname, "BLUTO".
RHODES moves past OTHER CELLS, each holding A NICKNAMED RED COAT.
GRUMPY stands way back in the shadows. TONTO stands near the bars,
growling. FATSO is swaying back and forth like a chubby five year old
who needs to pee.
RHODES stops at A CELL marked "BUB!". Inside we see A SILHOUETTE,
tall, erect, not moving a muscle. RHODES grins.
RHODES
Well, Bub. I've heard about you. Miss
Henried's pride and joy.
RHODES steps closer and BUB snarls warningly.
RHODES
Surly sonofabitch. I want to make friends,
Bub. Friends. I have one more goodie in my
sack here.
A LOUD, CLANGING SOUND interrupts. RHODES turns to see.
82 INT. THE DORMITORY - NIGHT
MARY HENRIED AND JULIE GRANT have entered through A STEEL DOOR WITH
ELECTRONIC LOCKS. THE ZOMBIES send up A CHORUS OF MOANS AND GROWLS.
The women start down the corridor checking cells as they pass.
Suddenly they stop in their tracks, their horrified eyes staring into
A CELL marked "SAMSON!".
SAMSON is nibbling on ANOTHER HEAD. Much of the flesh is already
gone, but we can still recognise...CHICO. The zombie turns the thing
up-side-down, reaches way inside, through the neck, and pulls out
grey matter.
JULIE backs away, fighting nausea. A spasm rises in MARY'S stomach as
well and she reels away from the hideous sight.
RHODES
Come, come, Miss Science. You've seen
worse.
MARY
God....damn you, Rhodes!
RHODES
God has damned us all. Are my atrocities
worse than yours?
MARY
You have ruined weeks of work here! We've
been trying to wean these specimens onto
alligator meat!
RHODES
No wonder they're so....hungry.
Suddenly JULIE SCREAMS, her hands flying to her mouth.
THE PLASTIC BAG is still dangling from RHODES' GLOVED HAND. Inside,
pressed into the thin plastic, we can see the rough outline of THE
FINAL HEAD. THE THING IS SQUIRMING causing the whole bag to wiggle.
RHODES drops the bag instantly to the floor. Taking care, he grabs
the bottom by a loose corner and pulls up hard. THE HEAD ROLLS OUT
AND SETTLES AGAINST A WALL. IT'S EYES ARE OPEN AND DARTING CRAZILY,
ITS MOUTH IS CHEWING, GROTESQUELY, ON THE AIR.
MARY stares in shock. JULIE runs towards the exit, trying to scream
but gagging on her own acids. She's hysterical.
RHODES calmly draws his PISTOL, cocks, and FIRES. THE SQUIRMING HEAD
IS SHATTERED by the powerful bullet.
83 INT. MARY'S OFFICE IN THE CAVE - NIGHT
A 9 BY 12 CUBICLE with A SMALL COMPUTER TERMINAL, A DESK AND THREE
CHAIRS. There's A LIGHTBOX on the wall displaying GROUPS OF CRANIAL
X-RAYS.
MARY guides JULIE GRANT into a chair. RHODES stands cockily in the
open doorway.
JULIE
I didn't realise! Those were de-caps! I
didn't know that....de-caps... revived!
RHODES
Any dead whose brains are intact will
revive.
JULIE
But...we bury the heads. Oh. God! It must
be torture for them!
RHODES
They are brutes without feeling. Though I
admit that I've requested cremation for
myself. Burial is an archaic tradition,
even more ridiculous now than it ever was.
To say nothing of the...spacing
problem...on a small island like this.
JULIE
I thought the purpose of decapitation was
to...to...
RHODES
The purpose of decapitation is to preserve
as much...food...as possible. The purpose
for feeding is to keep the beasts on our
side. The fact that they can be taught to
clean up our garbage or to fire a gun is a
convenient side benefit, not the primary
goal. The primary goal is to keep ourselves
from becoming their supper. Keep them fed
and they behave. Keep them hungry and they
revert back to being the animals that they
have always been. You saw them in there.
MARY
You gave them a fresh taste of blood!
RHODES
They will never be satisfied with anything
else, Miss Henried. They want human flesh.
I'm prepared to take whatever steps are
necessary to see to it they don't get mine!
Not while I'm still using it!
JULIE has calmed herself down. Now she feels angry, betrayed. She
looks at MARY accusingly.
JULIE
Did you know? About the de-caps?
MARY
I'd never seen it before.
JULIE
But you knew.
MARY nods in the affirmative. Tears form in JULIE'S eyes.
JULIE
What else is there, doctor? What else do
you people know that the rest of us don't?
They stare at one another. Whatever bond once existed between them
has been severed forever.
84 INT. A CONDITIONING ROOM IN THE CAVE - NIGHT
There are CARDIOGRAPHS, E.E.G. MONITORS, AND ALL SORT OF PHYSICAL
CONDITIONING DEVICES. On TABLES lie SYMBOLOGY CARDS AND COLOURED
BLOCKS for dexterity testing. There are LARGE CUT-OUT SHAPES on the
walls, TRIANGLES, SQUARES and familiar ORANGE CIRCLES.
MARY storms into the room flinging the door shut behind her. RHODES
catches it with his BLACK LEATHER GESTAPO BOOT.
RHODES
You can't run away from the planet, Miss
Science. You can't even run away from the
island, heh heh.
MARY
Leave me alone, you...COCKSUCKER!!!
RHODES laughs loudly. MARY faces him, hatred boiling away her
vocabulary. She can't think of word that are adequate.
MARY
You're....you're disgusting!
You're....FILTH!
RHODES
And you're the one who builds the bomb and
they says, 'I hope it'll never actually be
used'.
MARY is stopped...by her own guilt. She turns and busies herself
gathering books and papers, then she CLICKS OFF A LIGHT and moves
toward the doorway where RHODES stands.
MARY
(calmer, with method) Julie Grant is a
behaviouralist. She's not medical. She
hasn't been as...exposed to...to
things...as some of the rest of us. She'll
be alright. I'll talk to her. She'll be
alright.
RHODES
Oh, I have no doubt.
MARY
(recognising threat in his voice) If you
put her on the shit list because of her
reaction here tonight I'll go to Dickerson.
RHODES
Ah, yes, our noble Gasparilla does seem to
favour you lately. I understand he assigned
you a roommate of your choice. The rest of
us have to pick names out of a hat.
MARY
(reading his jealousy) Rhodes, you and I
had a roll in the hay together when I first
got here. It was a wholly unsatisfying
experience which I do not want to, and
which I never will repeat! So give up,
mister! I'm going home...to that roommate
you mentioned.
MARY pushes past RHODES into the hallway.
85 INT. THE HALLWAY OUTSIDE THE CONDITIONING ROOM - NIGHT
MARY starts down the hall but RHODES grabs her from behind. He leans
in close, lusting, pressing his lips against the back of her neck.
MARY
Take your hands off me! Right now!
An evil grin returns to RHODES' flushed face. He stares at the woman
for a long moment, then he lets go. MARY walks away, bristling.
RHODES calls after her.
RHODES
Maybe you'll change your mind when it
starts getting too lonely for you.
MARY stops dead. She turns back to see him gloating.
RHODES
I'm not entirely without influence myself,
Miss Science. I had your roommate
assigned...by Gasparilla... to my platoon.
What's his name? Tyler? Yes. Toby Tyler.
A bubble of fear pushes up in MARY'S throat but she is only letting
her anger show. Her stare is fierce, her eyes daggers.
RHODES
I had an unfortunate little run-in with him
today. In fact...you might say that Mr.
Tyler is in big trouble with
the...authorities.
MARY
You better not mess with me, Rhodes. I'd
love to serve your balls to those Red Coats
for lunch! Think about it!
RHODES
No, Miss Science. You're the one who needs
to do some thinking.
He turns and walks away. MARY stands still for a time, THE SOUND OF
RHODES' CLICKING BOOTHEELS surrounding her, swallowing her. In the
DEEP BACKGROUND we can HEAR THE MOANS OF THE CAGED DEAD.
86 INT. THE CENTRAL CHAMBERS OF THE CAVE - NIGHT
MONTAGE: as MARY walks through HUGE OPEN AREAS CARVED OUT OF NATURAL
ROCK. We are stunned at the enormity of the place. JEEPS AND TRUCKS
RUMBLE back and forth. Storage areas hold MOUNTAINS OF CRATES,
CARTONS, WATER AND GAS CANISTERS. FORK LIFTS shift loads from here to
there.
MARY comes to a place where the natural rock surrenders to man-made
walls. She enters past TWO SECURITY GUARDS, showing her I.D.
87 INT. THE RESIDENCE - NIGHT
MARY moves down A CORRIDOR with NUMBERED DOORS on both sides. We HEAR
THE SOUND OF LIFE, MUSIC BLASTING, VOICES LAUGHING, ARGUING, CRYING.
PEOPLE move by. A MAN AND A WOMAN are fighting. She slaps him, he
punches her, she kicks him in the balls. THREE HOOKERS pound on a
door. The door is opened by A NAKED MAN WEARING A DILDO on his nose.
OTHER MEN, behind him, laugh wildly as the hookers enter their smoke-
filled room.
MARY stops in her tracks when she sees that outside A DOOR NUMBERED
83 (the door to her quarters) there are TWO OF RHODES' SOLDIERS with
RIFLES in hand. The door itself is open and SHADOWS move inside.
MARY turns quickly, before she is spotted, and starts back through
the hallway. As she turns a corner she is grabbed by TOBY TYLER.
MARY
Toby...thank God...wait here. I gotta find
out what's goin' on.
TOBY
Hey. Slow down. What is it?
MARY
Some of Rhodes' men. At the door.
TOBY
That bastard. I didn't think he'd make his
move so fast.
MARY
It's because of me.
TOBY
Oh, bullshit, Mary. It's because Rhodes is
a prick.
MARY
I want you to leave. Then maybe...
TOBY
We're both gonna leave. Leave the island.
I've been talkin' to Tricks. We think we
can smuggle out one of those inflatable
rafts. They're crated up real small.
They've got air canisters. There's food
inside. Even a little motor.
MARY
I am not...a guerilla fighter, Toby. I'm
not a pioneer. I'm not...I'm not strong
that way. I need...
TOBY
Need what? Civilised order like we have
down here? Christ!
MARY
I can work here. Maybe my work can
help...help everyone. I can do more good
with access to this equipment than I can
off in some wasteland.
TOBY
For the good of mankind. That's what every
monster-maker says.
MARY looks into TOBY'S eyes. She's hurt, yet angry. The kind of anger
that comes involuntarily when somebody strikes an already sensitive
guilt-nerve.
TOBY
We're gettin' out. Me and Tricks. I want
you to come with us. I want that more than
anything. I'll send word. I'll let you know
a time and a place to meet. We probably
won't be able to wait around so if you're
not there on the dot...well...if you're not
there, I'll know you're not comin'.
She grabs him, holding him tightly against her. They kiss, hard and
long. TOBY pulls away, looks at her lovingly, then turns and starts
toward the guarded apartment. MARY follows.
TOBY
(walking) I don't know what they're gonna
do to me. I figure they'll just send me out
to Stalag Seventeen but if...if it's worse
than that...Tricks will know. Stay in touch
with Tricks.
As they approach the door to number 83, THE SOLDIERS there raise
their RIFLE to ready positions.
SOLDIER
You Tyler?
TOBY
Yes.
SOLDIER
You're under arrest. I'll take your weapon.
TOBY hands over his RIFLE and begins to unbuckle his PISTOL BELT. TWO
MORE SOLDIERS appear from inside the open apartment.
MARY
What's he supposed to have done? What are
the charges?
SOLDIER
Dunno, ma'm. We're on orders.
MARY
Look...I'm Mary Henried. I'm with the
special conditioning center. I'm not
without influence...
TOBY
(calmly) Mary.
MARY
I'll have somebody's ass for this. I'll
have your ass, soldier. I'm not gonna stand
here and...
TOBY
(more insistent) MARY!
She gives up. She looks into TOBY'S eyes.
TOBY
I'll be alright. Just remember the things I
said. Take care of yourself.
THE SOLDIERS escort TOBY down the hall without force. MARY watches
their backs for a time, then she flings her BOOKS AND PAPERS angrily
into the open apartment. She begins to cry.
88 EXT. ENTRANCE NUMBER SIX - NIGHT
HATCHWAY NUMBER SIX is surrounded by PROTECTIVE FENCING and, from it,
A FENCED ALLEYWAY runs off through the brush toward...we don't know
what yet.
THE HATCH OPENS and TOBY, along with TWO OTHER PRISONERS, also
disarmed troopers, is led down that alleyway by THREE GUARDS.
JOHN, SARAH AND BILL McDERMOTT peer out from nearby foliage. They
watch the procession. John whispers.
JOHN
The fences make a safe pathway to Stalag
Seventeen. That's where we live. That's
where you gonna live, too. Hell's half
acre. It's not a nice place. Them boys
there is prisoners. What's their
punishment? They sent out to the Stalag for
a few weeks. That's punishment enough.
SPIDER seems to appear from nowhere. She motions and the others
follow her through the thick jungle.
89 EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT
THE RUNNING FENCE LEADS TO A GATE IN A BIGGER FENCE. This one is
ELECTRIFIED. We know this because we see A COLLECTION OF ZOMBIES,
mostly "civilians" with no vests, clambering there, HANDS AND FACES
SPARKING WHEN THEY TOUCH THE CHAIN LINKS.
THE ZOMBIES send up wild MOANS AND GURGLES when TOBY AND THE OTHER
PRISONERS are led through the gate.
Inside the compound is A SCATTERING OF OPEN-SIDED MILITARY TENT-
BUILDINGS, resembling those on M*A*S*H. There's A DIN coming off the
place, a mixture of MUSIC AND VOICES that forms a disturbed blanket
of noise. The place seems to seethe like a hornets' next.
THE SOLDIERS head back for The Cave as POSTED GUARDS shut the gate
behind THE PRISONERS. TOBY and the other captives move toward the
"village".
90 EXT. STALAG SEVENTEEN MAIN STREET - NIGHT
PEOPLE wallow in the mud. ONE MAN has just taken a shit and is wiping
his ass. Nearby A DRUNK lies unconscious. SEVERAL MEN are fighting.
It's a brutal fight with BOTTLES AND PIPES AND LENGTHS OF CHAIN. The
men are really hurting each other. PEOPLE SMOKE AND SNORT AND SHOOT
UP in wide open disarray.
A HUGE PREGNANT WOMAN plants herself right in TOBY'S path.
PREGNANT WOMAN
How 'bout it, baby. I'm big but I'm
beautiful.
TOBY pushes past her and bumps into A SURLY DRUNK.
DRUNK
HEY, YOU FUCK! YOU FUCK!
He grabs TOBY and flings him violently against an upright on one of
the long huts. THE OTHER TWO PRISONERS move on, abandoning TOBY,
disappearing into the crowd. THE DRUNK pulls A RUSTED, HOME-MADE
KNIFE.
DRUNK
I OUGHTA SLICE YOU UP, YOU FUCK! YOU CAN'T
PUSH ME AROUND LIKE... PUSH ME
AROUND...LIKE...
Suddenly VOMIT rises in the man's throat and he doubles over. TOBY is
aware of SOUNDS behind him. At his back, in the hut, A HAIRY FAT MAN,
still wearing his boxer shorts and his muddy boots, is wham-bam-
bamming A WHORE, who is wearing everything but underwear and boots.
There are needle tracks on the woman's arms and her face looks as
though she's been beaten brutally. She purses her deep red, damaged
lips and blows TOBY a kiss that's meant to be seductive.
TOBY moves on down the street. The place is a cesspool full of human
dregs, stinking with refuse, filled with the fury and desperation of
man in his last days.
91 EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT
JOHN leads his followers to within sight of the Stalag gates. ZOMBIES
still claw at the ELECTRIFIED FENCE. BLUE-WHITE SPARKS fill the air
like flashbulbs.
JOHN
This is home, darlin'. Home for us that
don't make the grade. Us that ain't...good
enough to live inside The Cave. We grow a
little food, do a little light
manufacturin'...like these here vests, we
make these for the massers. We live in our
own filth, with bugs and snakes and disease
and jungle fever...all the time waitin' to
become breakfast for the Bees.
JOHN is doing a sales job on SARAH but everything he says is truth.
She hears it all, softening to JOHN'S cause.
SPIDER has silently lifted A LARGE WOODEN ROUND out of the weeds.
It's a camouflaged tunnel entrance.
JOHN
It's a tunnel. It's a couple hundred yards.
Just keep goin' 'til you reach the end.
I'll be right behind you.
SARAH starts down into the hole. JOHN and the others prepare to
follow. JUNGLE SOUNDS cover the noises they make.
92 INT. THE HOSPITAL IN STALAG SEVENTEEN - NIGHT
We see ROWS OF HOME-MADE COTS, each with A BODY lying on top. What
faces we see are gaunt, showing the boils and lesions of consumptive
diseases and tropical fever. INSECTS BUZZ and there is THUNDER in the
air.
An Oriental orderly, LUKEY, moves through the maze of bodies. He
lifts the wrist of A WOMAN WHO LOOKS DEAD and he discovers that she
is dead indeed. He hurries off.
93 INT. HOSPITAL OPERATING ROOM - NIGHT
This is a room with walls, an operating room with JURY-RIGGED
APPOINTMENTS. On A TABLE, under A HALF-DOZEN LIGHT BULBS, lies A
CORPSE. Another orderly, a Nordic type names DIESEL, an enormous man,
assists while DOCTOR LOGAN methodically SAWS OFF THE CORPSE'S HEAD.
LUKEY rushes in out of breath.
LUKEY
Doc Logan! Doc Logan! Dere's a lady dead
out dere! Gotta hurry! Gotta hurry! Dunno
how long she been dat way! Maybe she
gettin' ready to come back.
THE CORPSE'S HEAD ROLLS AWAY FROM ITS BODY. DOC LOGAN picks up AN
ELECTRIC DRILL WITH A LONG BIT. WHZZZZZZZZZ! HE DRIVES THE SPINNING
BIT INTO THE DISEMBODIED HEAD, DEEP INTO ITS BRAIN. When he pulls it
out, MATTER FLIES as the motor winds down.
LOGAN is a middle aged man. He looks exhausted, demoralised, a bit
mad. And he looks as ill as some of his patients. There are OPEN
SORES on his face and he hasn't shaved for days. He's covered with
two week worth of BLOOD STAINS. He starts around the table leaving
DIESEL to dispose of the "DE-CAP".
LOGAN
Bury the head. Call the guard for the rest.
Get it off the table for now. We'll bring
this new one in.
DIESEL doesn't respond right away. He's heard something.
LOGAN
What is it?
DIESEL
The tunnel.
LOGAN hears it now, A SCRATCHING, SCUFFLING SOUND. He looks at his
watch.
LOGAN
God. It's almost sun-up.
LOGAN AND LUKEY move to a spot at the back of the room. They remove
SEVERAL OF THE PLANKS in the floor. SARAH'S head pops out, gasping
for air. Logan recoils, his eyes wide and frightened.
LOGAN
Who are you? Who are you?
He stands up too quickly. Dizziness makes him reel. He smashes into
AN INSTRUMENT CART, comes up with A LONG-BLADED SCALPEL and holds the
thing threateningly aimed at the stranger.
JOHN
It's OK. It's OK, Doc. She's with us.
In the next moment, SARAH and the others climb out of the tunnel.
JOHN
This here's the hospital. That's Diesel
over there, the big guy. This here's Lukey
and that's Doc Logan who's about to cut
your tonsils out.
SPIDER, the last one to climb into the room, quickly begins
collecting WEAPONS, what few the rebels have.
JOHN
This here's all the weapons we got. That's
why your fancy automatic looks so good to
us. We gotta stick it over here with the
others for now. They catch us with any kind
o' weapon and its death without even askin'
your name.
SARAH lets SPIDER take her GUN. The deaf mute signs something which
SARAH can't decipher.
JOHN
Ammunition. You got ammunition in your pack
there? I hope you do or the gun ain't worth
much.
SARAH roots through her SUPPLY PACK and produces THREE LOADED CLIPS
AND SEVERAL BOXES OF LOOSE SHELLS. JOHN notices SOME TINS OF FOOD,
MEDICINES, A KNIFE, A COMPASS...
JOHN
We better just hide the whole pack,
darlin'. That stuff is just shoutin' out
that it come from the mainland. The shit we
get is all C.D. rations. Aspirins and
crackers from 1958.
SPIDER snatches THE PACK away rather roughly. SARAH is a little
disturbed by the action. THE MATERIAL is stashed under FLOOR BOARDS
beside the tunnel entrance.
JOHN
Let's go. You look like you could use some
shut eye. Me too. We can all get acquainted
tomorrow.
LUKEY escorts JOHN AND SARAH out of the operating room into the main
hospital area. BILL McDERMOTT pulls out his empty flask.
McDERMOTT
Doc, I need a fill up. I'll help m'self if
it's alright with you.
LOGAN nods distractedly and BILL moves to A SUPPLY CABINET which
contains, among other essentials, SEVERAL BOTTLES OF BRANDY. He fills
his flask eagerly.
LOGAN
How do we know she's alright? How do we
know?
McDERMOTT
She's alright. Christ, Rhodes and his
cossacks wiped out her whole party. Dan
near got her.
McDERMOTT pockets the refilled flask, takes a long slug from the
cabinet bottle before putting it back, and moves out of the room.
LOGAN is left alone with DIESEL AND SPIDER.
LOGAN
How do we know she's alright? How do we
know?
LOGAN repeats his question, intoned identically as it was before.
He's twitching slightly and sweat is pouring down his face. THE
THUNDER suddenly seems LOUDER.
DIESEL
Are you alright, Doc? You look... you look
real bad.
LOGAN
I have looked bad for four years. Everyone
in the world has looked bad for four years.
Thank God looks don't matter as much as
they once did.
LOGAN, a wild gleam in his eye, moves out of the room, following
where the others went, that LONG-BLADED SCALPEL still clutched in his
hand. The others follow.
94 INT. THE HOSPITAL - NIGHT
JOHN, SARAH AND LUKEY are facing out across the compound. A TEEMING
TROPICAL RAIN has started to fall.
JOHN
This just ain't your day, is it, darlin'
Sarah.
SARAH can't help but snicker. Suddenly her head spins exhaustion is
conquering her body as last. JOHN puts a big arm around her.
JOHN
Three more minutes. Then you can sleep. You
gotta stay with it for three more minutes.
McDERMOTT joins them and the group moves out into the rain. LUKEY
waddles back through the maze of cots.
LOGAN, SPIDER AND DIESEL have moved to about the center of the big
room. The patients around them, their eyes bulging, look like lemurs.
LOGAN
How do we know she's alright? How do we
know?
The same intonation again. This guy's wrapping is definitely coming
loose.
THE ZOMBIE rises up behind LOGAN'S back. It's the woman whose wrist
Lukey checked earlier. Its teeth are dripping with drool, its hands
reaching out wantingly.
LOGAN turns around. Calmly, but with the swiftness of a rattlesnake,
he shoots out the hand that's holding THE SCALPEL. THE BLADE SINKS
DEEPLY INTO THE ZOMBIE'S FOREHEAD. LOGAN pulls it out and strikes
again, and again, and again, like a swordsman thrusting, thrusting,
thrusting. Finally the creature collapses. LOGAN wipes the scalpel on
his already blood-covered apron. RAIN WATER drops onto him from holes
in the roof above. He doesn't seem to notice.
95 EXT. STALAG SEVENTEEN MAIN STREET (RAIN) - NIGHT
THE STREET SCENE is toned down due to the late hour and the rain, but
just as vile, just as vicious. JOHN AND McDERMOTT escort SARAH. JOHN
speaks softly, and only when others on the street are far enough
away.
JOHN
They supply us with disinfectant and dope.
Sex, drugs and rock-and-roll. What more
could anyone ask for? Most around here
ain't interested in changin' their lives.
The folks you met...me and them and a
couple others is the whole rebel army.
Nobody else gives a shit...and they're
afraid o' Rhodes.
They pass A STRUCTURE WITH AN OVERHEAD SIGN that reads: JOE'S CORNER
TAVERN. If there were walls they'd be pushed out by the MASS OF
HUMANITY inside. MUSIC BLARES and VOICES form a wall of noise louder
than the THUNDER. A FIGHT spills out onto the muddy street, PUSHERS
selling all sort of delights accost JOHN and his group.
SARAH
They seem to be havin' a good time. Some
punishment.
JOHN
You disappear in here, darlin'. You get a
knife in yer belly or too much shit in yer
veins. You get lost out here and nobody's
gonna notice. Rhodes, he counts on that. It
all makes for food in the freezers.
They come to A LONG HUT WITH A SIGN that reads: THE RITZ.
JOHN
This is your hotel. I'm not gonna stay here
with you but I'll always be close. You
gonna hafta take care o' yourself like you
said you was able to do.
SARAH nods. JOHN smiles at her. His warm, trustworthy eyes seem to
glow in the dark.
JOHN
Some may notice that you're new. Just deny
it. You'll get away with it. Nobody really
looks at each other around here. Go on in.
Get some sleep.
He squeezes her hand tightly, then he turns away and moves off with
McDERMOTT. SARAH moves into THE RITZ.
96 INT. THE RITZ (RAIN) - NIGHT
It resembles the hospital. There are ROWS AND ROWS OF COTS. SOME
PEOPLE SLEEP, alone and in pairs. OTHERS are awake, drinking,
screwing, shooting up. SARAH finds an empty cot and flops down.
Beyond the open walls she can see THE BLUE-WHITE FLASHES coming from
the electrified fence. RAIN LEAKS in on her but it doesn't keep her
from falling asleep.
97 INT. THE CONDITIONING ROOM IN THE CAVE - MORNING
TECHNICIANS are working with ZOMBIES while ARMED GUARDS stand ready.
We FOCUS ON A BLUE COAT. Under supervision, the thing is fumbling to
tie a shoelace. It's failing miserably but trying hard. ANOTHER BLUE
is busy placing LITTLE WOODEN SHAPES into their proper HOLES IN A
BOARD.
TWO RED COATS sit at a table attended by HUMAN TECHNICIANS. We've
seen these zombies before, in the dormitory. TONTO, is...or was...a
native American, probably Seminole. In front of him is A PLATE
containing SEVERAL BITS OF MEAT. He has A FORK in his hand and he is
idly stabbing at the meat.
The other RED COAT, BLUTO, looks just like Bluto from Popeye, bulky
with a thick, black beard. Tired of THE JIG SAW PUZZLE he's working
on, he snarls and suddenly lunges for the meat on TONTO'S plate. He
snatches a handful and stuffs it in his mouth. As soon as he tastes
it, however, he pulls it back out, dribbling and spitting
disgustedly.
FISHER (a technician)
They won't accept a substitute. They want
their Alpo.
TONTO has succeeded in forking a piece of meat. He moves it to his
mouth and pops it in.
FISHER
Alright! Way ta go, Kemosabe!
MARY HENRIED has entered the room. She pulls up and watches TONTO
with a kind of dubious interest. TONTO stops chewing. He looks up
with exaggerated sadness on his face. Slowly his mouth opens and the
chewed piece of meat slides out between his lips. He throws his fork
down angrily.
MARY
They won't learn to use forks if they don't
like the breakfast you're serving, Ted.
FISHER
The fork is like a game to them. If they
get into the game maybe they'll learn to
like the food.
MARY
It won't work.
Suddenly BLUTO jumps up from the table. He flings his chair aside and
tromps right over to MARY. His arms are outstretched and he is making
a pleading, Karloff-like SOUND. GUARDS come after him but MARY waves
them off.
MARY
It's alright! Leave him alone!
MARY extends her right hand to meet BLUTO'S right and they shake
vigorously. Then the dumb creature drops his arms and looks around.
His brain sends no signal as to what he should do next. THE GUARDS
lead him away.
98 INT. THE FIRING RANGE IN THE CAVE - MORNING
BLAM!!! A RED COAT is FIRING A PISTOL right AT THE LENS.
CLOSE ON: A TARGET, a flat, cut out silhouette of a man, BLACK
TRIANGLES painted on the instant-kill-zones, brain, heart. BULLETS
STRIKE the neck, the to torso, SOME RICOCHET off the wall behind.
None hit the kill-zones.
MARY HENRIED enters. The place resembles a Police Department target
range. RED COATS stand in stalls and FIRE down LONG ALLEYS at TARGETS
which pop up against the opposite wall. THE NOISE is deafening. TWO
TECHNICIANS are watching the shooters and keeping score. MARY walks
up to one of them.
MARY
Have you seen Julie Grant this morning?
TECHNICIAN
She should be in the behaviour rooms.
MARY
She's not. Hasn't shown up yet.
There's AN OFF-SCREEN GROAN, the sound of a zombie trying to
communicate. MARY turns and sees the tall RED COAT names BUB standing
in the closest stall trying to attract MARY'S attention. (He was the
one Rhodes referred to last night as "Mary's pride and joy".) He is
wearing WESTERN-STYLE GUN BELTS, SIX-SHOOTER hang in HOLSTERS on both
his hips. MARY faces BUB full with her body and delivers a military
salute.
MARY
Good morning, Bub.
BUB replies with one of those pathetic sounds that obviously mean
something to him. Then he, too, salutes. MARY pulls away, heading for
AN EXIT, but BUB calls after her. He makes inarticulate sounds but we
catch his drift.
TECHNICIAN
I think he wants you to watch.
MARY
OK, Bub. Do your stuff.
BUB turns towards the target wall looking like a gunfighter on a
western street. There's A HUMMING MECHANICAL SOUND. KATCHUNG! A
SILHOUETTE pops up. BUB slaps leather...fast... lighting fast. BOTH
GUN come up. BLAM-KA-BLAM-KA-BLAM-BLAM-BLAM-BLAM!!!
HOLES APPEARS IN THE TARGET...WOP-WOPPETY-WHUMP!!! All in the kill-
zones, or damn close.
BUB slaps ONE PISTOL back into its HOLSTER. He clicks open the shell-
chamber on THE OTHER, dumps the SPENT CARTRIDGES and begins to reload
from his belt.
MARY stares at the creature's back, mixed emotions showing on her
face. BUB turns to face her. Dropping a bullet, he salutes again.
MARY hesitates, then salutes back.
MARY
Very good, Bub. That's....very good.
99 INT. A LOCKER ROOM IN THE CAVE - MORNING
PEOPLE are changing clothes, going on and off duty. JULIE GRANT
rushes in and moves to a locker where she pulls out her LAB COAT.
MARY HENRIED enters the room, spots JULIE, and rushes towards her.
MARY
Where the hell have you been?
JULIE doesn't respond. She buttons her coat never looking up.
MARY
Julie. Are you alright?
(still no response)
You were missed this morning. I need you. I
don't want you getting your ass in hot
water. I won't be able to help you if...
JULIE
I don't need any help from you!
JULIE slams the locker door and storms away toward the exit.
MARY
Julie...JULIE!
But she's gone. The locker door has bounced open. MARY slams it and
it bounces again. She pounds it with her fist. Suddenly, A LOUD BELL
SOUNDS. MARY looks at her watch then exits.
There are TWO WOMEN cleaning the locker room with MOPS AND PAILS. One
of them turns to watch MARY HENRIED exit. We recognise her. It's
SPIDER.
100 INT. THE COUNCIL CHAMBER IN THE CAVE - MORNING
This is a large Situations Room that is serving now as GOVERNMENT
HEADQUARTERS. In A BIG, STUFFED OFFICE CHAIR behind A DESK FLANKED
WITH FLAGS sits GOVERNOR HENRY DICKERSON (former of Florida, now of
the world) A.K.A.... GASPARILLA.
At TABLES sit A DOZEN OR SO COUNCILMEN, Dickerson's cronies from the
old Doral Country Club, close friends who were offered asylum in the
private underground shelter. Now they sit in council, "yessing"
everything the boss man says.
A STATE PROSECUTOR has a DESPERATE-LOOKING PRISONER on the floor,
standing with his hands cuffed.
PROSECUTOR
He was found with a government-issue short-
wave transmitter in his quarters. He's
charged with the theft of that equipment
from a government installation and with
possession of an illegal radio.
GASPARILLA munches on SOME FRUIT. He's a fat man with a handlebar
moustache that makes him look like Pancho Villa. As an indication of
rank we wears a military jacket but underneath is a Hawaiian shirt
with a bold flamingo and palm tree pattern. Around his neck, nestled
in the rolls of fat there, is enough gold to stake a small business.
PROSECUTOR
I can only suggest that the court rule in
favour of the ultimate penalty for this
traitor.
GASPARILLA
You always recommend the ultimate penalty,
Tommy Lee. You and Rhodes.
We now see that RHODES is present, looking on with a smile.
GASPARILLA
All those...AGAINST...the ultimate penalty
raise yer hands.
None of THE COUNCILMEN move a muscle. GASPARILLA scans them slowly as
he takes a big, wet bite out of a peach.
GASPARILLA
Ya mean ta say nobody's gonna object to the
ultimate penalty in this here case? Well,
what if I object? What if I object to the
ultimate penalty.
THE COUNCILMEN look nervous, apprehensive. GASPARILLA'S flexing his
power-muscles.
GASPARILLA
There's been a whole lotta swingin'
influence and swingin' weight arountyere
lately. Does anybody at all give two shits
fer what I think any more? Well, I'm a-
gonna let this guy off. How d'yall like
that? And I want the word ta git out I let
'im off. I let 'im off. Not this council.
Maybe I can improve my image rountyere.
THE PRISONER looks up at GASPARILLA, hatred boiling inside him.
GASPARILLA meets his gaze with a power-mad sneer.
GASPARILLA
Yer sentenced ta hard labour. Stalag
Seventeen. A year.
PRISONER
WHY DON'T YOU KILL ME! I PREFER TO DIE! I
DON'T WANT TO LIVE WITH... WITH THIS KIND
OF...SIN!
GASPARILLA
WELL, PISS ON YOU, MISTER! I JUST SAVED
YOUR ASS! YOU DAMN WELL BETTER NOT GO
HOLLERIN' LIKE THAT IN HERE!
PRISONER
I SPIT ON YOU! THE ULTIMATE PENALTY FOR
YOU! BURN IN HELL...FOR THE ULTIMATE SIN!
PIG! ALL OF YOU! PIGS!
GUARDS drag the screaming PRISONER from the room. GASPARILLA flops
back in his chair, flustered but unscarred. His skin is about a foot
thick. He pitches the peach and grabs up a mango. MARY HENRIED enters
the chamber and rushes toward an empty chair. GASPARILLA checks THE
DOCKET on his desk, smiles, and looks up at MARY.
GASPARILLA
Well, Miss Henried, what a coincidence.
You're just in time fer a case that seems
ta concern you. Guess you didn't care about
the other proceedin's we been dealin' with
here this mornin'.
MARY
I'm sorry. I was...busy. In the lab.
GASPARILLA
Well, you managed ta make it here jus' in
time fer this case, didn't ya?
RHODES replaces THE PROSECUTOR on the floor. He smiles at MARY
pointedly as he starts his speech.
RHODES
Sir. In the matter of the State versus
Private Tyler, I don't want to...
MARY
(standing) Sir, Tyler is innocent of any
crime against the State. Captain Rhodes
is...
GASPARILLA
(with a mouthful of mango) Miss Henried, I
think you better...
MARY
...Captain Rhodes is trying to...
GASPARILLA
(spitting a wad of chewed pulp into his
hand) MISS HENRIED, SHUT THE HELL UP!!!
MARY'S eyes indicate her frustration and anger but she does shut up.
GASPARILLA plops the handful of fruit pulp onto the floor wiping his
fingers on his military jacket.
RHODES
I don't want to take up a lot of time with
this. Mr Tyler shot a prisoner against
orders. There are eyewitnesses. I've
reprimanded Tyler and I've had him sent
outside. It's as simple as that.
GASPARILLA
Ya had 'im sent ta the Stalag? That's all
ya did to 'im?
RHODES
The prisoner was dying, sir. Tyler acted
out of a sense of mercy. I don't believe
Tyler to be dangerous, General. He just
needs...discipline. Two or three months
outside will teach him...discipline.
MARY
Sir. It's quite clear that...
GASPARILLA
SHUT UP, MISS HENRIED! I TOL' YA B'FORE!
MARY
THIS IS A TRAVESTY! CAPTAIN RHODES IS...
GASPARILLA
SIDDOWN, YOUNG LADY! I DONE YUP A SHIT-LOAD
O' FAVOURS AND I AIN'T NEVER YET ASKED FER
NOTHIN' IN RETURN! NOW HOW'D YOU LIKE TA
SPEND TWO WEEKS UP T'THE VEGETABLE FARM
YERSELF? THAT'S WHAT IT'LL BE IF YA DON'T
SIDDOWN AN' SHUT THE HELL UP!
MARY checks herself. There's a perverse air of danger fuming off the
fat General. His attitude toward MARY has clearly changed. RHODES has
been working on him. MARY seems to have lost this round. She can only
hope that's all she's going to lose.
GASPARILLA
Now I think Captain's punishment is fair,
considerin'. In fact I think you ain't got
shit ta complain about.
MARY
(softly, carefully) I'm sorry, General, if
I...spoke out of turn. It's just that...Mr
Tyler is not here to defend himself. He has
no representation. I don't believe due
process is being served by...
GASPARILLA
Listen, Missy. I am the only due process
that has ta be served aroun' tyere and one
of the people doin' the servin' from now on
is gonna be you. Now you been prancin'
aroun' the Cave like yer ass was glass fer
long enough! All that's
GASPARILLA
gonna change, young lady. Now if you still
got a statement you'd like ta make, you can
jus' hold onto it 'til tonight.
MARY
Tonight?
GASPARILLA
That's right. 'Bout eight, if that suits.
We'll start out in my gymnasium an'
progress on from there...to various other
forms o' physical therapy.
MARY shoots a hate-filled eye full at RHODES. THE CAPTAIN responds
with a phoney look of sympathy.
101 INT. GASPARILLA'S GYMNASIUM - NIGHT
The place is full of EXERCISE EQUIPMENT, TREADMILLS, WEIGHTS, A
NAUTILUS, ETC. There are other items which seem contradictory, PLUSH
PILLOWS, A HUGE CIRCULAR BED SURROUNDED BY MIRRORS. Delicacies of
FOOD AND DRINK lie about on LOW TABLES. The room is a cross between
Elaine Powers and a harem chamber.
A HUGE COFFIN-SHAPED DEVICE opens and we see that the inside is lined
with ULTRAVIOLET TUBES which are covered with plexiglass. GASPARILLA
lounges inside the thing, sweating, having just taken a long dose of
fake sunshine.
All around are THE COUNCILMEN, some with COUNTRY-CLUB TYPE WOMEN,
conservatively dressed and wearing suitable jewellery (obviously
wives left over from the good old days), and some with SCANTILY CLAD
COURTESANS.
OTHER SCANTILY CLAD "BUNNY" TYPES are serving HORS-D'OEUVRES and
pouring WINE, offering SMOKE AND SNORT.
MARY HENRIED is sitting on the floor, lost in fluffy pillows, her LAB
COAT incongruous. RHODES watches her from nearby.
GASPARILLA
AWRITE. C'MON LADIES. OFF WITH IT... AND ON
WITH IT...HA HA HA...
MUSIC BLARES and SEVERAL OF THE COURTESANS spring up, stripping off
what few clothes they are wearing. Some strip naked, others down to
panties. They hop onto various exercise machines and begin to
"workout", tits flopping, thighs pumping...GASPARILLA'S kind of
entertainment.
GASPARILLA
Oh, Lordy, Lordy...I'm drunk as a skunk.
Look at this...will ya jus' loooooook at
these lovelies! Say, Henried, you ever try
it with another woman?
MARY looks up at the General, not knowing whether or not she should
answer, afraid of what he might try to make her do.
GASPARILLA
I've tried it with boys. Too strenuous.
FOUR MORE WOMEN have brought in SILVER PLATTERS full of NEW HORS-
D'OEUVRES, prepared carefully and laid them out like sushi. They're
distributed and people eat them
GASPARILLA
Folks...I just couldn't resist. How d'yall
like those? How do those taste?
GUESTS look up, not knowing what to expect. MARY fears the worst. She
looks around to see RHODES grinning. A knot comes up into her throat.
She tries to swallow it down.
GASPARILLA
Fresh from the freezers, folks. It's
what...THEY...EAT!
A FEW OF THE GUESTS are revulsed. ONE MAN starts to vomit and he runs
from the room.
GASPARILLA
Just kiddin' folks. Just kiddin'. Would I
do a thing like that? I ask ya now, would
I? Hah ha ha ha ha...
Relief spreads and the bacchanalian atmosphere restores itself.
GASPARILLA spills himself out of the tanning coffin and flops down on
some pillows near MARY. He grabs up a goblet and swills red wine
which runs down his front.
GASPARILLA
The great state of Florida. People came
here fer years ta die. Retire and expire.
The rest o' the country used ta think we
was nothin' but a bunch o' farts and
fogies. Hah! Now this here's the new
Capital o' the World! Hah! They came
here...died...went to hell...and the Devil
sent 'em back as an army. Hah! General
Gasparilla's army...MY ARMY!
MARY
We think there are other cities surviving.
We think maybe Detroit... there's some
signalling out of Philly.
GASPARILLA
There's no place like this place. Warm
climate. This facility. Christ, there ain't
nothin' like this no-damn-where! Even the
Feds knew that. That's why they stored so
much o' their shit down here. It's all mine
now. All mine. Just let 'em try ta come
after us down here, which they will some
day...take a likin' ta what all we got an'
come after us. They'll hafta get past my
army! An army that ain't afraid ta die...ha
ha ha...'cause it's awreddy DAID! HA HA HA
HA....
MARY
It's not a very big army. And small as it
is you won't be able to continue feeding it
for very long. We've got to find ways of
getting them to respond without relying
on...
GASPARILLA
You'll find the ways, Miss Mary. And when
ya do...we'll sail on over to the
mainland...or any other damn mainland fer
that matter...and start us a recruitin'
program. There's millions o' Bees out there
jus' waitin' fer' a General ta lead 'em on
ta vict'ry!
GASPARILLA swallows another huge quantity of wine.
DISSOLVE TO:
102 INT. THE GYMNASIUM - NIGHT
The room is empty now. Remnants of food and drink clutter the place.
THE FAT GENERAL is asleep, snoring loudly, one of his pudgy arms is
draped across MARY HENRIED'S lap. She is trying to move out from
under without waking the man. She slides on the floor...a few
inches...a few inches more. GASPARILLA snorts and rolls over. His
eyes pop open, focus on MARY, and a smile pushes his fat cheeks back.
GASPARILLA
Well, hi there, y'all.
Mary looks down at the man, repulsed and afraid. Suddenly he grabs
her LAB COAT. She pulls away and he crawls after her, his belly
bouncing along the floor. BUTTONS POP and the coat falls open. He
reaches for her blouse. It tears away and for a moment he gets a
chubby handful of bare breast. He dives into her but he's unconscious
before his face reaches her chest.
MARY pulls herself out from under his dead weight. Shivering, she
clutches her blouse together and hurries out of the room.
103 EXT. ENTRANCE TO STALAG SEVENTEEN - DAWN
Light is just breaking through the trees when THE GATES ARE OPENED
admitting FIVE UNIFORMED MEN into the compound. Outside the fence
ZOMBIES clamber excitedly as always.
104 INT. THE RITZ - DAWN
SARAH jumps, awakened by A VOICE AND THE LOUD POUNDING OF RIFLES
against the upright of the sleeping hut.
RHODES
REVEILLE! REVEILLE! RISE AND SHINE!
RHODES is standing near the entrance. FOUR SOLDIERS are doing the
pounding. Stunned, disease-ridden faces look up as CITIZENS are
awakened from sleep. Fear sweeps through the place like a tropical
wind.
RHODES
We found two white Bees in the jungle with
their heads chopped open. I want to know
who's going outside the compound. I want to
know how they're going out. I want to know
why they're going out. Until I get these
answers...each morning...some of you will
die.
Without warning RHODES draws his MAGNUM and...BLAM! BLAM! He shoots
TWO COT PEOPLE who happen to be at close range. They tumble to the
dirt floor, dead before they hit.
RHODES scans the rest of the hut. He spots a familiar face, THE
PRISONER from the Council Room, the one Gasparilla saved from a death
sentence. The man makes the sign of the cross, knowing what's coming.
BLAM! BLAM! RHODES FIRES TWO RAPID ROUNDS and THE PRISONER'S CHEST
TURNS RED. He flies off his cot into one adjacent, landing on top of
a SCREAMING WOMAN.
RHODES AND HIS MEN leave as abruptly as they entered. SARAH is
stunned. As PEOPLE around her react with sobs and more screams, she
locks her eyes on RHODES.
He is moving authoritatively down the street just outside the open-
walled structure. He passes within inches of SARAH'S cot which is
right against the outside rail. Her emotions well up inside her. She
is about to jump out into the street when A BIG BLACK HAND grabs her
arm. It's JOHN, who has pushed through the gathering crowd outside.
SARAH
Let me go! I'm the one he wants. This is
all happening because of me. If I turn
myself in...
JOHN
He's just finding another reason for
bumpin' us off. Don't ya see. He needs us
ta die. He needs our bodies.
Behind JOHN on the street TOBY TYLER is looking on. He has heard the
conversation. JOHN turns and sees him. His eyes go dark with
apprehension.
TOBY
It's alright. I'm a friend. I need help and
so do you. What's a safe place to talk?
JOHN
Ain't no place safe.
TOBY
Look...I know you have no reason to trust
me. I've got friends in the Cave. I got
some stuff comin' out this mornin'. I'm
gonna try to get off the island.
PEOPLE are pushing in closer attracted by the commotion inside the
Ritz. TOBY has to make it fast. He whispers.
TOBY
I'm gonna have this stuff sent over to the
hospital...
JOHN
The hospital? (surprised, worried)
TOBY
Yeah. My stuff's all marked with red
crosses so nobody gets too nosey. Meet me
at the hospital after the supplies come in.
Maybe we can find a place there to talk.
JOHN
Maybe.
TOBY drifts off into the crowd. JOHN AND SARAH exchange glances.
105 EXT. ENTRANCE TO STALAG SEVENTEEN - MORNING
SUPPLIES are being brought in through THE MAIN GATES, CRATES,
CARTONS, BAGS OF GRAIN, SEED, FERTILISER.
TRICKS is in charge of the patrol from the Cave. He's checking items
as they're picked up by WORKERS from the compound. TOBY TYLER sidles
up to his friend.
TOBY
Hey, Tricks. Some detail they got you on.
TRICKS
Not as bad as yours, pal.
TOBY
(whispering) What'dya get?
TRICKS
Rafts. Two 38s. A little ammo.
TOBY
We need fuel, and a couple automatics.
LUKEY, the orderly, picks up A DOLLY which is LOADED DOWN WITH CRATES
MARKED WITH RED CROSSES.
TRICKS
Hey, you. Those two on the bottom. Don't
open those yet. They might be from the
wrong shipment. Just keep 'em around 'til I
can check.
LUKEY
Yessir. I never open 'em. Nossir. I keep
'em innaback for you.
106 EXT. FRONT STREET OF STALAG SEVENTEEN - MORNING
Watching from the shadows of A BUILDING are JOHN, SARAH AND DIESEL.
DIESEL
He's a spy. A spy for Rhodes.
JOHN
Give him a chance.
They see TOBY pull away from TRICKS and start down the street
following LUKEY. They move out and catch up with TOBY, flanking him.
JOHN
What'dya tell that soldier, soldier? You
tell him we was rebels?
TOBY
He's my contact for Chrissake! There's two
crates. Can you get me into the hospital?
SHORT CUT TO:
107 INT. STORAGE BAY IN THE HOSPITAL - MORNING
CREAK! A CROWBAR pries open A CRATE. JOHN AND LUKEY guard the
entrance while TOBY AND DIESEL work at opening the "Red Cross" boxes.
SARAH stands nearby. THE LIDS LIFT and we see TWO ARMY-ISSUE LIFE
RAFTS.
TOBY
There ya go. Complete with air
canisters...little motors.
JOHN
We got a boat.
TOBY
What?
JOHN
I say we got a boat. Can you get other
stuff?
TOBY
I got some fuel comin' out and, I hope,
some automatic rifles.
DIESEL
He's just tryin' to win us over. This
doesn't prove anything.
JOHN
I'm gonna trust him, Diesel. He already
knows who we are and we ain't got a bunch
o' time to mess around with Rhodes shootin'
up the joint every mornin'.
TOBY, rooting through the open crates, finds THE PISTOLS TRICKS told
him about and A FEW BOXES OF AMMO. He tosses one of the guns to JOHN.
The big man walks over and puts the weapon back inside the crate.
JOHN
Can't walk around here with these. Let's
just leave 'em here 'til we ready ta use
'em.
108 INT. HOSPITAL OPERATING ROOM - DAY
CLOSE ON: HANDS carefully...very carefully...pouring DROPS OF CLEAR
LIQUID INTO A TEST TUBE. The liquid is sweating slowly out of A
MILDEWED AND ROTTING STICK OF DYNAMITE which has been softened to
near-melting by jungle heat.
A DOZEN TEST TUBES stand in a rack, already filled. SPIDER, another
woman, SALLY, and a man, JACK, each have their own DYNAMITE STICK.
Each is transferring LIQUID SWEAT...which is, of course, nitro
glycerine...into A GLASS TUBE. They work in tense silence on the
operating table.
DOC LOGAN works with them, doing the same delicate procedure.
Suddenly his hands starts to tremble.
LOGAN
Take it away from me. Quickly. Take it!
Take it!
SPIDER reaches over and, as gently as possible, takes the VIAL and
THE DYNAMITE out of the doctor's hands. She sets the tube in the rack
and returns the dynamite to AN OPEN CRATE, years old and crusted with
mildew and mud, still half-filled with sticks yet to be drained. The
danger passed, they all breathe a sigh of relief. LOGAN wipes the
river of sweat from his face. His hands are shaking quite violently
now. He pops pills, dry, from his pocket.
LOGAN
Sorry. I'm sorry. I'll, er...I'll be
alright...in a moment.
JOHN
You're sick, Doc. You been sick for a while
now. Too sick to be workin' with us on this
raid.
JOHN, SARAH AND DIESEL are standing in a corner of the room. TOBY
TYLER is with them, sweating and obviously nervous.
JOHN
You've helped us enough, providin' cover,
hidin' us out. Let the rest of us handle
the physical stuff. It's too much for you.
LOGAN
It's my fight as much as yours. The things
they made me do...the things they
made...me...do. I want so see Rhodes
destroyed. I want to see all of them, all
of them destroyed. It's my duty...in the
eyes of God. In the eyes of God.
LOGAN is really flipso now, over the edge into banana-land.
TOBY
It won't work. That's pure nitro you're
dealin' with there. That stuff can blow if
you look at is funny. What're you gonna do,
walk into the Cave carryin' those tubes on
feather pillows? You don't have a complete
layout of the place. Even if you manage to
avoid a fight you won't know where to go.
JOHN
We're hopin' you can show us where ta go,
Toby.
TOBY
Oh, no. I'm tryin' to get off this island
alive. I'll help you all I can but I'm not
goin' in there on a suicide mission. What
can you hope to accomplish? Some radios
maybe? A supply room or two? You'll all be
killed and in a few weeks they'll be back
to business as usual. That place was built
to withstand nuclear attack! What are you
gonna do with a half-dozen guns and a few
sticks of nitro?
JOHN
We're gonna blow up the powder magazine.
TOBY
What?
JOHN
We know what's down there. We did the
loading' and unloadin' when the stuff came
ashore in the early days. A direct hit
oughta do more than a few weeks worth o'
damage.
TOBY
A direct hit'll blow the top off this whole
island! How're you gonna fuse the stuff?
How're you gonna leave yourself time to get
out?
LOGAN
If we don't get out it's a small price to
pay.
TOBY
You're fuckin' out of your minds! There's
two hundred people down there. You gonna
murder two hundred people?
LOGAN
Sinners! Animals! Filth! Doing the work of
the Devil!
TOBY
What about the people here in the camp? If
they don't get blown to kingdom come their
food'll be destroyed, their water, medical
supplies. They won't have any more power.
This island can't support them all, they'll
be doomed. Count me out, friends. I'm gonna
get my ass outa here. Anybody wants to come
along is welcome.
Silence falls over the room. Finally JOHN moves towards the door.
TOBY follows but before exiting he turns back to face the group once
more.
TOBY
I wanna see Rhodes burn just a much as you
do...but all those people. We don't have
the right to be their judges... just like
they don't have the right to be our judges.
JOHN opens the door and TOBY exits. SARAH follows. JOHN looks around
at the faces in the group, then he leaves, shutting the door behind
him. There's a long silence, then LOGAN speaks.
LOGAN
We know what we must do. It's written for
us in the Bible. "They shall be driven from
the land of the living down to the world of
the dead. That is the fate of those who
care nothing for God."
109 INT. STORAGE BAY IN THE HOSPITAL - DAY
LUKEY stands guard. McDERMOTT has joined SARAH AND JOHN in a strategy
huddle. TOBY stands nearby, feeling strangely guilty.
SARAH
Toby's right. They're not gonna sit around
with their fingers up their asses while we
bust up their toys.
JOHN
Datura.
SARAH
What?
JOHN
Datura Metel. The Devil's Trumpet. Don't
worry. I ain't goin' religioso again. It's
a flower that grows on these islands. Where
I come from the voodoo priests used it
whenever they needed a Mickey Finn. It's
toxic. Ground up you can put it in a drink
or inject it...or...in a sealed area it
might be introduced through the ventilation
system.
SARAH
Datura! Miguel knew it! Datura, he was
shouting! Datura Metel!
JOHN
We always planned to use it. We got some
ground up already...but we could never find
enough.
SARAH
There's hundreds of 'em. Right where we
landed our boat.
TOBY
This stuff really works? No shit?
JOHN
Quicker than gas. And it smells a lot
prettier. It usually don't kill but it puts
ya under fer a good night's sleep.
TOBY
If you could knock out the central
communications room you could foul up their
whole intercom system. Then, if you move
fast enough, stay ahead of 'em...without
bein' able to signal each other, they might
have a hard time catchin' you.
JOHN
I say it's poetic. Pure calypso, brother.
The Devil's Trumpet blowin' the notes o'
doom for the Devil's troops. Ha ha ha ha
ha...
110 EXT. THE BACKWATER - NIGHT
THE FISHING BOAT that bought SARAH and her friends to the island sits
still in the channel. There are SOLDIERS ABOARD, two of Rhodes' men,
pacing the deck, passing a bottle back and forth.
JOHN (o.s.)
Well, we found yer boat, lady, but so did
they.
JOHN, SARAH AND TOBY are huddled behind green cover peering out at
the boat.
SARAH
Looks like just two. We can take 'em when
the time comes.
JOHN
We're only about a quarter-mile from Cave
entrance number five.
TOBY
That entrance is closest to the labs and
the Bee cages.
JOHN
Come on. Let's go.
They move off stealthily.
They enter the clearing with the spectacular PLANTS that Miguel
discovered. Six feet tall, their red-gold blossoms like trumpets with
their bells down, these are Daturas, nightshades indigenous to
southern Florida and parts of the Caribbean.
SALLY AND JACK, who we saw working on the nitro sticks, are chopping
off the eighteen-inch blossom and stuffing them into LARGE LEAF BAGS.
They're wearing HOSPITAL MASKS over their mouth and noses. JOHN moves
in to help. TOBY AND SARAH follow but JOHN stops them.
JOHN
Just stand guard for now. Spell us after a
while. Can't breathe this grass too long or
somebody hafta carry you home.
Work goes on in silence.
111 EXT. THE STREET OUTSIDE THE RITZ - NIGHT
MUSIC ROCKS AND VOICES SHOUT. The street scene is as wild as ever.
HOOKERS, PUSHERS AND DRUNKS pack the hot darkness.
112 INT. THE RITZ - NIGHT
At A COT near the open wall, in DIM LIGHT FROM AN OVERHEAD BULB
OUTSIDE, SARAH, JOHN AND TOBY huddle. The DIN from the street makes
it impossible for others to hear them. TOBY is drawing A MAP.
TOBY
Maintenance shafts run behind all the main
rooms. Nobody's in those at night. You can
use them to get around in. Hit the power
governors first. Kick a surge into their
computer network and you erase everything
stored in the memory. Then...over in
here...that's where the cages are...
On the street outside, a puffing BILL McDERMOTT pushes through the
unruly crowd, his face showing alarm.
McDERMOTT
The Doc's gone. Diesel and Jack and Spider
with him. They took the guns... and the
nitro.
CUT TO:
113 INT. HOSPITAL OPERATING ROOM - NIGHT
CLOSE ON: LUKEY, beside himself, almost to the point of tears.
LUKEY
I coulden stop 'em, boss. No way I coulda
stop 'em, I sweah. They tie me up and stick
dis...
(He's waving a pillowcase in his hand, the
action accentuating his frenzied state.)
...they stick dis in my mouf. You b'lieve
dis?
JOHN is in the room with SARAH, TOBY, SALLY AND BILL McDERMOTT. This
is now the entire rebel force. THE FLOORBOARDS TO THE TUNNEL have
been thrown aside. The weapons are gone.
McDERMOTT
I was in the Cave yesterday workin'
repairs. Spider was in on clean up. I seen
her talkin' ta some insiders... well, she
was scribblin', they was talkin'...mighty
palsy.
TOBY
Jesus! They're gonna try to do it! They're
goin' in! They got somebody to help 'em
from the inside!
LUKEY
They din' get da pistols. You know dem
pistols you buddy send in widda raffs.
TOBY
I gotta get Mary out. Tricks. We gotta go
now! Tonight! Right away!
McDERMOTT
Oh, Lord! (He polishes of what's left in
his flask and moves to refill it from the
bottles in Logan's cabinet.)
SALLY
We're not ready.
JOHN
Well...if ya think about it...we as ready
as we ever gonna be. How was they carryin'
the nitro, Lukey?
LUKEY
Oh, me. You ain't gonna b'lieve dis,
neider. You ain't, I sweah. They put it
inta Spidah's body.
TOBY
They what?
LUKEY
De Doc. He cut up Spidah here and here and
here...all ovah. He stick dem tubes in
dere, like undah da skin...an' den he sews
'em all up. I sweah. I sweah, sweah, sweah!
114 EXT. THE JUNGLE - NIGHT
JACK AND DIESEL are chopping a path through the undergrowth with
MACHETES. Behind them DOC LOGAN is walking slowly along with SPIDER,
guiding her carefully around obstacles. SPIDER is in major pain.
She's sweating rivers, her fists are clenched, she's biting her lover
lip so that it bleeds.
LOGAN
I know it hurts. But it won't be long. Then
all the pain will be over. Oh, I wish you
could hear me. GOD, GIVE HER THE EARS TO
HEAR ME SO SHE KNOWS I DON'T WANT HER TO
HURT SO!
DIESEL
Quiet!
LOGAN
Oh, yes. Quiet. Yes. We must be quiet.
Suddenly, A ZOMBIE lunges from the underbrush, its FACE BADLY
DETERIORATED and one of its hands; lost during its human life,
replaced by A MECHANICAL HOOK. SPIDER stumbles. She holds her breath
and stiffens all her muscles. Miraculously the nitro vials inside her
do not explode. LOGAN throws himself quixotically in front of THE
ZOMBIE.
LOGAN
FALLEN ANGEL! THIS IS THE JUDGEMENT DAY
WHEN YOU WILL BURN FOR YOUR SINS! THE LORD
WILL CAST YOU DOWN TO THE LOWER REACHES AND
YOU SHALL FOREVER KNOW....
THWOK!!! THE ZOMBIE'S STEEL HOOK SINKS DEEPLY INTO LOGAN'S UPPER
CHEST. The man's eyes reflect no immediate sensation. His speech
falters but only slightly.
LOGAN
...YOU SHALL FOREVER KNOW THE PAIN... THE
PAIN...
THE ZOMBIE pulls LOGAN towards its DROOLING, WIDE OPEN MOUTH. It's
just about to bite when DIESEL CHOPS HIS MACHETE INTO THE CENTER OF
THE CREATURE'S SKULL. The thing falls, pulling LOGAN, still hooked,
to the ground with it.
LOGAN
YOU SHALL FOREVER KNOW THE PAIN OF HELL...
THE PAIN OF HELL.
DIESEL frees the doctor's shoulder from the hook. BLOOD FLOWS FREELY.
DIESEL grabs a handful of DRESSINGS from LOGAN'S PACK and goes to
work on the wound.
LOGAN
...the pain of Hell...the pain...the
pain...
115 EXT. THE JUNGLE NEAR THE VENTS - NIGHT
SARAH, SALLY, LUKEY AND McDERMOTT stand by while JOHN AND TOBY swing
open THE RUSTED GRILLWORK OF AN AIR-VENT in the ground. TOBY is able
to swing his upper torso completely down inside.
116 INT. THE VENT - NIGHT
TOBY hangs up-side-down in A RUSH OF AIR. He tightens A HOSPITAL MASK
over his nose and mouth.
TOBY
Okay. Lemme have 'em.
A LEAF BAG is passed in from above. TOBY flags the bag open and BITS
OF FLOWER AND POLLEN DUST FLY through the tight space, sucked off
into the duct.
117 INT. THE COMMUNICATION ROOM - NIGHT
CLOSE ON: A GRILL NEAR THE CEILING. BITS OF TOXIC POLLEN and AN
OCCASIONAL PIECE OF FLOWER blow into the room.
There are SIX TECHNICIANS AND TWO SECURITY GUARDS posted at various
stations. A RADIO MAN looks up.
RADIO MAN
What's that? Smell it?
TECHNICIAN
Dunno. Must be comin' from outside. Kinda
nice.
118 INT. ENTRANCE NUMBER SEVEN - NIGHT
There are only TWO GUARDS posted at the sealed entrance. One is
eating from A CAN OF SPAM. The other is reading an old, dog-eared
PLAYBOY. A RIFLE BARREL jabs suddenly into "Playboy's" back.
JULIE
Don't move!
It's JULIE GRANT, Mary's disgruntled assistant. A YOUNG MAN, another
behaviouralist in a WHITE LAB COAT is with her. They both have
RIFLES.
JULIE
Open the outer door. Move it!
"Playboy" slowly gets up and starts towards A CONTROL PANEL. At the
last minute, he spins around, grabbing JULIE'S GUN BARREL and pushing
it away. JULIE'S YOUNG ACCOMPLICE swings his RIFLE BUTT and knocks
"Playboy" cold. Then he trains the weapon on "Spam man" again.
JULIE moves to the controls, examines them, trips A TOGGLE marked
"LOCK" and pushes A LARGE GREEN BUTTON.
THE DOOR TO THE OUTSIDE SWINGS OPEN. Beyond is blackness with an
occasional patch of MOONLIGHT ON JUNGLE GROWTH. JULIE walks slowly,
carefully toward the opening. Just as she is about to cross the
threshold into the night, A HUGE FIGURE leaps at her, grabbing her
RIFLE and enclosing her in a strangle hold. It's DIESEL. Behind him,
comes JACK, his RIFLE (Sarah's rifle) levelled off at JULIE'S YOUNG
FRIEND.
"Spam man" makes a break for it down the hall. Reacting nervously,
too quickly, JACK FIRES. "SPAM MAN" IS HIT SQUARELY IN THE BACK. He
pitches forward, dead.
THE YOUNG SCIENTIST raises his gun.
YOUNG MAN
Hey! What the hell.....?
JACK FIRES ANOTHER BURST and the ORANGE CIRCLE ON THE YOUNG MAN'S
CHEST SHOW A DOTTED LINE OF RED. He flies back, a surprised
expression on his face, and he flops, dead, right on top of the
"Playboy" guard who is lying near the control booth.
LOGAN
ENOUGH! ENOUGH! ENOUGH! ENOUGH!
THE DOC comes slowly out of the night guiding SPIDER over the
threshold and into the hall. LOGAN reminds us of a crazy John
Houston, floating on air in a madman's bubble.
JULIE
What...what is this? Who...?
LOGAN
It's alright, it's alright, my dear. You've
simply helped us do the Lord's work.
LOGAN'S SHOULDER WOUND IS BLEEDING THROUGH ITS DRESSINGS but the
doctor, on a holy mission, seems to feel no pain. He guides SPIDER
into the light and opens her shirt. DIESEL shoves JULIE against a
wall. JACK covers her with his AUTOMATIC.
LOGAN removes RED-SOAKED DRESSING from SPIDER'S skin. All over her
bare chest and upper belly we see LONG, EIGHT-INCH SCARS, HASTILY
STITCHED WITH SUTURE SHOWING. Beneath each is A CIGAR-SHAPED BULGE
where a vial of nitro has been implanted. The woman stands on
crumbling legs, her arms open outward, a grotesque lampoon of a
stigmatic.
JULIE
What...what have you done to her?
LOGAN
God forgive us. Forgive us the pain we
inflict as surgeons. We'll be in Heaven,
child. Soon. We'll be with Him in Heaven.
SPIDER
Na...na...ak...aaaaaaaaaa...
SPIDER is trying to signal something. She has seen that "PLAYBOY" is
crawling into the control booth. LOGAN follows her alarmed gaze.
LOGAN
NO YOU DON'T I CAN'T LET YOU DO THAT! I
CAN'T!
LOGAN charges toward the booth. THE GUARD is half-in-half-out of the
glass chamber, his hands reaching for the control panel inside. LOGAN
starts to kick him, again and again.
JACK
Outa the way, Doc! Outa the way!
There's vengeance on LOGAN'S face. He's kicking THE GUARD brutally,
but that doesn't stop the man from reaching the controls. He hits A
RED ALARM BUTTON. THE PANEL BUZZES AND COLOURED LIGHTS BLINK. THE
DOOR to the jungle starts to swing closed. DIESEL dives at it but
can't stop the steel slab. It slams with A LOUD THUNNNNNG!
JACK swings into another position to get a clear shot and he FIRES A
LONG BURST into the control booth. "PLAYBOY" IS STRUCK BY SEVERAL
ROUNDS. He bounces around in the booth and collapses to the floor,
dead.
LOGAN, his SHOULDER WOUND POURING BLOOD, aggravated by his physical
exertion, falls to floor himself, in a faint.
JACK
Shit!
DIESEL
Keep the woman covered.
JACK levels off on JULIE again. DIESEL moves over to SPIDER. Pulling
FRESH DRESSING from LOGAN'S BAG, the big man begins to pack them onto
SPIDER'S BLEEDING CHEST.
119 INT. THE COMMUNICATION ROOM - NIGHT
CLOSE ON: A BLINKING RECTANGLE OF RED LIGHT. Written on its face is:
ALARM - GATE 7. A BELL RINGS LOUDLY in the room. THE SHOT WIDENS and
we see FIVE MEN, all slumped, unconscious, none able to react to the
alarm.
ONE OF THE SECURITY GUARDS has made it to THE EXIT. He manages to
push the door open, but then he falls in a heap.
A RADIO MAN staggers into A WEBBING OF WIRES, then he too falls.
THE OTHER SECURITY GUARD inches his hand towards A LEVER WITH A
PROTECTIVE COVER. He flips the cover up, then collapses. The falling
action causes his fingers to trip the lever. A HUGE KLAXON SOUNDS. A
BLINKING RECTANGLE, huge over the doors, reads: GENERAL ALERT!
120 INT. GASPARILLA'S GYMNASIUM - NIGHT
The usual scene here, GASPARILLA AND HIS COURTESANS entertaining THE
COUNCILMEN AND THEIR LADIES. THE KLAXON SOUNDS over THE LOUD ROCK
MUSIC. MARY HENRIED, a prisoner for the evening again, hears THE
SOUND. Her eyes widen. She looks over at RHODES, who jumps to his
feet. The party gradually goes silent.
RHODES
Don't be alarmed. We're impregnable. Stay
where you are. Nothing will happen to any
of you. You're safe here. Men.
This last word to A SMALL UNIT OF FOUR TROOPERS standing guard at THE
EXIT. RHODES goes steaming through the doors. TWO OF THE TROOPERS
FOLLOW, THE OTHER TWO unsling their RIFLES and take up posts just
outside in the corridor. THE STEEL DOOR SLIDES SHUT locking
GASPARILLA AND HIS COURT inside the gymnasium...MARY HENRIED with
them.
GASPARILLA
Well, c'mon, ladies and gents. Who says we
gotta let our evenin' get spoiled? Simon
sez...GET DOWN!!!
MOST OF THE GUESTS are willing to let the party get back to full
swing. GASPARILLA grabs A TOPLESS COURTESAN and rocks his fat belly
around in an attempted dance. MARY seems to be the only one concerned
about the alarm.
121 EXT. THE JUNGLE - NIGHT
Even outside THE KLAXON CAN BE HEARD. TOBY AND THE REBELS stop in
their tracks.
TOBY
That's the general alarm. Jesus! They musta
got in!
JOHN
What you wanna do?
TOBY
Come on!
THE GROUP moves out urgently.
122 INT. ENTRANCE NUMBER TWO - NIGHT
A CIRCULAR LIGHT BLINKS GREEN with A BUZZING SOUND. THE TWO INSIDE
GUARDS punch up A VIDEO MONITOR. The screen shows TOBY TYLER AND
LUKEY holding PISTOLS on SALLY AND BILL McDERMOTT.
GUARD
(into intercom) What's goin' on?
TOBY (filter)
(on video) LET US IN. THERE'S BEEN A
REVOLT...AT STALAG SEVENTEEN...THERE'S
REBELS CRAWLIN' EVERYWHERE!
GUARD #2
I know him. That's Tyler.
TOBY (filter)
(on video) FER CHRISSAKE! LEMME IN, DAMMIT!
LEMME IN!
THE FIRST GUARD HITS A BUTTON AND THE BIG STEEL ENTRANCE DOOR SWINGS
OPEN. THE REBELS storm in like an ocean wave taking the hapless
GUARDS completely by surprise. They knock them unconscious and take
their WEAPONS. TOBY pushes A BUTTON which causes the outer door to
swing shut, then he leads the band down the corridor.
They go through A DOOR about a hundred yards from the entrance.
123 INT. MAINTENANCE SHAFT - NIGHT
This is one of the WORK CORRIDORS that TOBY mentioned earlier. THE
REBELS run, single-file, deep into the Cave.
124 INT. ENTRANCE SEVEN - NIGHT
JULIE GRANT has been ROPE-TIED to an eyelet in the wall. DIESEL sets
down A PISTOL AND A BOX OF AMMO beside DOC LOGAN who is sitting on
the floor beside the control booth. He's having trouble catching his
breath. His WOUND has turned his ENTIRE FRONT RED.
DIESEL
You'd hold us back. We have to go on.
LOGAN
Hmmmmmm? Oh, yes. Go on.
SPIDER, her shirt buttoned again over her new dressings, is carefully
signing something. DIESEL reads her fingers.
DIESEL
Maps. Yes. She was supposed to bring us
maps.
JACK steps over to JULIE. He frisks her pockets and finds TWO HAND-
DRAWN MAPS showing complete layouts of the Cave.
DIESEL
Alright. Let's go.
They move out, DIESEL supporting SPIDER, JACK with his RIFLE ready.
125 INT. A SUPPLY CLOSET - NIGHT
TOBY breaks open A CARTON and pulls GAS MASKS out. He passes them
back to BILL McDERMOTT AND SARAH.
126 INT. THE COMMUNICATIONS ROOM - NIGHT
THE REBELS, all wearing GAS MASKS, burst into the room. TOBY moves
right toward AN INTERCOM. He punches in a code and waits while the
INTERCOM BUZZES.
TOBY
Come on, Mary. Answer. ANSWER!
Nothing. Toby punches up another code while the others drag THE
UNCONSCIOUS GUARD out of the doorway, letting the doors shut behind
them. A VOICE comes over the speakers.
TRICKS (o.s. - filter)
Yeah.
TOBY
Tricks, it's Tyler. We're inside.
TRICKS (o.s. - filter)
What? Was that you that set off the alarms?
TOBY
No. There's some loonies from outside.
They're gonna try to blow the powder
magazine.
TRICKS (o.s. - filter)
Where are you? What's the plan?
TOBY
Find Mary. If you can get help do it. We're
gonna hit the power station and haul-ass
outa here. We'll be at exit five...that's
exit five in exactly ten minutes.
TRICKS (o.s. - filter)
I think I can get a couple guys.
TOBY
And Mary! You gotta find Mary!
TRICKS (o.s. - filter)
I'll try, Tob. I'm gone.
TRICKS clicks off. TOBY levels his AUTOMATIC at the RADIO CONSOLE and
FIRES. SPARKS FLY, CHUNKS OF WOOD AND METAL SHOOT OFF IN EVERY
DIRECTION.
McDERMOTT
HOLD ON! HOLD ON! Yer wastin' yer
ammunition. Hit 'er in here...then around
back in the circuit boards.
TOBY levels off again, this time at the "kill-zones". BULLETS FLY.
MORE SPARKS DANCE as THE UNIT BREAKS APART.
McDERMOTT
(shouting) AND OVER HERE. THE ALARM
SYSTEMS. THESE CENTRAL PANELS HERE. THESE
CIRCUITS.
SARAH AND SALLY step up and start BLASTING. A PROFUSION OF SPARKS
this time as THE ALARM SYSTEMS SEEM TO EXPLODE.
Suddenly A COLLECTION OF RED LIGHTS START BLINKING URGENTLY. A BELL
SOUNDS. THE LARGE RECTANGLE OVER THE EXIT IS FLASHING A NEW WORD:
EVACUATE! EVACUATE! EVACUATE!
McDERMOTT
Jesus, Mary and Joseph! (he slugs from his
flask) By blowin' the alarm panels...we
signalled an Evac!
127 INT. CORRIDORS IN THE CAVE - NIGHT
MONTAGE: A LOUD BUZZING IS HEARD as DOORS OPEN everywhere, some
sliding, some swinging back, some rolling into the walls. TROOPERS
caught trotting through halls are taken by surprise. CITIZENS spill
out of apartment doors that have opened electronically.
128 INT. ENTRANCE SEVEN - NIGHT
THE DOOR TO THE JUNGLE SWING OPEN. JULIE GRANT looks over at DOC
LOGAN. The madman struggles to his feet. Supporting himself against
the wall of the control booth, he reaches inside and starts pushing
buttons.
JULIE
Those buttons won't work! The evacuation
command overrides them.
JULIE looks through the open entranceway. Barely visible in the DIM
BLUE MOONLIGHT are the hulking shapes of TWO...NO THREE ZOMBIES,
approaching the open hatch.
129 INT. THE COMMUNICATION ROOM - NIGHT
McDERMOTT is explaining to the others.
McDERMOTT
All the doors in the Cave have been sprung
open...all the ones that work on electric.
It's so nobody'll get trapped anywhere.
130 INT. ENTRANCE SEVEN - NIGHT
LOGAN stares dumbly, without comprehending, at THE ZOMBIES which are
lurching forward out of the night.
JULIE
CUT ME LOOSE! PLEASE! CUT ME LOOSE!
131 INT. THE DORMITORY - NIGHT
THE LATCHES ON THE CELL DOOR CLICK. With BUZZING, MOTOR NOISES, THE
DOORS OPEN OUTWARD. THE ARMY OF RED COATS marches out into the hall.
We might recognise TONTO, BLUTO, SAMSON....we certainly recognise big
Bub.
132 INT. A HOLDING PEN IN THE CAVE - NIGHT
We see A LARGE PEN, its GATE SWINGING OPEN. From inside, MOANING
HUNGRILY, come FORTY OR FIFTY ZOMBIES, BLUE COATS AND WHITE.
GUARDS outside the pen start to panic. They OPEN FIRE. A FEW ZOMBIES
ARE HIT but there are too many, way too many. THE GUARDS turn tail
and retreat off into the Cave.
THE ZOMBIES are out! Free to find their own suppers!
133 INT. THE GYMNASIUM - NIGHT
THE DOORS have opened here, too. THE CROWD, having heard the
EVACUATION SIGNAL, is panicking. MANY are running out past THE GUARDS
and into the hallway. GASPARILLA is trying to reinstate calm.
GASPARILLA
STAY HERE! STAY PUT! WE'LL BE ALRIGHT!
WE'RE SAFE HERE! JUST AS SAFE AS ANYWHERE
'TIL WE FIND OUT WHAT'S GOIN' ON!
MARY HENRIED takes advantage of the confusion. She slips out behind
TWO COUNCILMEN AND THEIR LADY-FRIENDS.
134 INT. NURSERY CORRIDOR - NIGHT
THE HALLWAY is in chaos. TROOPERS run by, CRAZED CITIZENS flee in
both directions. MARY HENRIED is stopped by A NURSE standing in AN
OPEN DOORWAY.
NURSE
What is it? What's happening?
MARY
It's an evacuation signal. The radios are
out. People are panicking.
NURSE
What should we do?
MARY looks past THE NURSE into A ROOM where A GROUP OF CHILDREN, a
dozen or so, ranging from twelve-years-old down to infancy, are
huddled. Some are crying.
MARY
God. I, er...I dunno what to say. It could
be a real evacuation or it could just be a
glitch in the system. Wait here for now.
I'll...I'll make sure you get the word what
to do, okay?
NURSE
Please...hurry...
MARY takes off down the hall.
135 INT. ENTRANCE SEVEN - NIGHT
CLOSE ON: JULIE GRANT'S FACE, screaming, in agony, on the brink of
insanity. THE ZOMBIES have reached her. They're started to pull at
her arms, her legs. ONE BITES HER HAND, ANOTHER HER ARM, ANOTHER HER
CALF.
DOC LOGAN is watching from the control booth, all the while fiddling
with BUTTONS, DIALS, LEVERS.
LOGAN
We'll be in Heaven soon. We'll all be in
Heaven soon.
(Julie's screams penetrate the fog in his
brain. He frowns.)
Pain. God forgive the pain inflicted by
surgeons. We must atone. We must atone for
our sins.
His eye is attracted to A LARGE LEVER seemingly separate from
everything else. It's marked: SIREN. He pulls it.
LOGAN
We must...atone. We must.
136 EXT. THE SIREN HORN - NIGHT
Slowly, THE THROATY WAIL RISES and calls out over the jungle. It's
the "Feeding Signal" we heard earlier.
137 EXT. THE JUNGLE - NIGHT
MONTAGE: as everywhere in the jungle ZOMBIES turn toward the call of
THE SIREN. They start to walk...toward the SOUND, toward the place
where there is food.
138 INT. ENTRANCE SEVEN - NIGHT
JULIE is still screaming wildly. THE ZOMBIES ARE TEARING HER APART,
LITERALLY.
DOC LOGAN inadvertently kicks THE PISTOL left by DIESEL and is
skitters across the floor. He flops down on his knees.
LOGAN
WE WILL ATONE. WE WILL BE THE
SACRIFICE...THE COMMUNION...WE OFFER
OURSELVES UP...OUR SOUL...AND OUR BODIES...
JULIE GRANT finally loses consciousness. MANY MORE ZOMBIES are
pressing in through the entrance now. They reach LOGAN and start to
tear at him. Something clicks in his brain and he realises what's
happening. He starts to scream. His hands find THE PISTOL on the
floor.
ONE ZOMBIE TAKES A BITE OUT OF HIS LEFT ARM. He shrieks and brings up
THE PISTOL, FIRING. THE FIRST SHOT RIPS OPEN THE CREATURE'S SKULL.
The next FIVE SHOTS are wasted, FIRED WILDLY. The GUN CLICKS emptily
as THE ZOMBIES engulf him, TEARING, BITING, EATING HIM ALIVE.
MORE ZOMBIES come out of the jungle...a lot more...called by the
SIREN. In waves they enter the Cave looking for food.
139 INT. A CORRIDOR IN THE CAVE - NIGHT
TRICKS is running through the hall with TWO BUDDIES. MARY HENRIED
jumps out of the crowd.
MARY
Tricks! What's going on?
TRICKS
Toby's in the Cave. We're gonna make our
move. There's rebels out to blow the powder
magazine. Come on. Come with us.
MARY
Where are you goin' out?
TRICKS
Exit five.
MARY
See ya there.
She turns away and starts back in the direction she came from. TRICKS
calls after her.
TRICKS
SEVEN MINUTES, MARY. EXACTLY SEVEN MINUTES!
140 INT. THE MAIN CHAMBER OF THE CAVE - NIGHT
RHODES AND EIGHT TROOPERS turn a corridor and there, before them, is
a sight out of Dracula's tomb. Moving through the lava-stone arches,
between the giant earthen pillars, is THE ARMY OF BLUE AND WHITE
ZOMBIES. RHODES and his men can't possibly fight them, there are too
many. RHODES spots A DOOR WITH A CAGED RED LIGHT OVERHEAD. They can
get to it by slicing through only A FEW OF THE ADVANCING GHOULS.
RHODES
THIS WAY. OVER HERE! SHOOT! SHOOT THEM!
SHOOT TO KILL! IN THE HEAD!
Their RIFLES BLAZE as they drive through the edge of THE ZOMBIE
HORDE. SEVERAL OF THE CREATURES GO DOWN, THEIR HEADS BLASTED OPEN BY
RAPID-FIRE ROUNDS.
ONE grabs RHODES by the sleeve of his jacket. The captain turns on
his heels and stares at the thing with outraged disbelief. He raises
his MAGNUM and pumps TWO QUICK SHELLS INTO THE CREATURE'S BRAIN.
THE PLATOON finally reaches the door. RHODES holds it open while his
MEN run inside. He holsters his PISTOL and unslings his AUTOMATIC.
THE ZOMBIES press towards him. He selects A FEW OF THE CLOSEST ONES,
aims, and FIRES, with a look of enjoyment on his face. For a moment
he resembles Doc Logan, madness bristling inside him.
THE ZOMBIES fall, THEIR HEADS SHATTERED, ONE OF RHODES' MEN calls
from inside the doorway.
TROOPER
Captain...CAPTAIN!
RHODES FIRES ANOTHER QUICK BURST, then he turns and moves through the
doorway.
141 INT. A CORRIDOR IN THE CAVE - NIGHT
SPIDER is walking along, careful to avoid jolts, support-under her
arms by the giant DIESEL. JACK walks with them, his nervousness
irritated by the need to move slowly. CITIZENS run past, none of them
paying attention to the desperadoes.
Suddenly they encounter A TROOP OF SOLDIER who come trotting around a
corner. Nervous JACK OPENS FIRE. TWO SOLDIER GO DOWN. A gunfight
erupts as the rest of the TROOPS scatter in the hallway, CIVILIANS
are caught in the crossfire. TWO ARE HIT.
DIESEL manages to steer SPIDER around a corner to safety. JACK keeps
FIRING but he's trapped in A HAIL OF BULLETS. A RED LINE CUTS ACROSS
HIS CHEST and he flies back, dead, his GUN STILL FIRING.
Out of the Troopers' sight, DIESEL checks his map and moves into A
DOORWAY, one of several on the area, guiding SPIDER through beside
him.
142 INT. ANOTHER MAINTENANCE SHAFT - NIGHT
They find themselves in one of those work corridors. The giant man
shoulder his RIFLE and gently lifts SPIDER into his arms. He moves,
as smoothly as he can, down the shaft and around a bend.
143 INT. A CORRIDOR IN THE CAVE - NIGHT
TOBY leads JOHN AND THE REBELS out into A HALLWAY. They break across
to an opposite door. Before they can escape, A TROOP OF SOLDIERS
appears. A GUNFIGHT ENSUES.
TWO SOLDIERS GO DOWN. JOHN IS WOUNDED IN THE SHOULDER but he stays on
his feet. THE SOLDIERS have them divided in the two opposite
doorways.
Suddenly, TRICKS AND HIS BUDDIES come charging around a corner. THEY
OPEN FIRE. THE SOLDIERS RESPOND. TWO MORE SOLDIERS GO DOWN. ONE OF
TRICKS' MEN IS KILLED. TRICKS himself IS WOUNDED BADLY IN THE
STOMACH.
Caught in a crossfire, THE LAST FOUR TROOPERS throw down their guns.
They flee wildly down the corridor. THE REBELS pick up and file
through one of the doors. TOBY rushes to aid his BADLY WOUNDED BUDDY.
TOBY
Tricks...Jesus...
TRICKS
I'm alright. Let's go.
They follow after the others.
144 INT. THE GYMNASIUM - NIGHT
A SCREAM GOES UP! A WOMAN near the exit has spotted something
terrifying in the hallway. THE GUARDS panic. ONE OF THEM OPENS FIRE.
145 INT. THE HALLWAY OUTSIDE THE GYMNASIUM - NIGHT
A MASS OF ZOMBIES COME SHUFFLING DOWN THE CORRIDOR. Their VOICES ECHO
IN GROTESQUE HARMONY, the song of the living dead that we've heard
before.
146 INT. THE GYMNASIUM - NIGHT
THE GUARDS are trying to close the entrance doors manually. The big
slabs won't budge. Suddenly GASPARILLA appears. Drawing A PISTOL from
A HOLSTER he wears, without warning he SHOOTS ONE OF THE GUARDS. THE
OTHER GUARD flees.
GASPARILLA falls onto the dead man and rips off his ORANGE-CIRCLE
VEST. THE ZOMBIES are pressing in now, into the gymnasium. GASPARILLA
AND SEVERAL REMAINING PARTY-GOERS (none with vests) are trapped.
147 INT. A CORRIDOR NEAR THE DORMITORY - NIGHT
MARY is running along with THE NURSE AND THE CHILDREN. Suddenly, from
out of a doorway, comes CAPTAIN RHODES WITH HIS STORM TROOPERS.
RHODES
HENRIED! WHERE ARE YOU GOING?
Without answering, MARY leads her band through A MANUAL DOOR that
leads to the Dormitory.
RHODES
STOP THEM! SHOOT!
SOLDIER
The...the children, sir.
RHODES
After them then! I want them stopped! That
woman is dangerous!
148 INT. THE HALLWAY OUTSIDE THE DORMITORY - NIGHT
MARY AND HER REFUGEES are stopped in their tracks by BUB AND HIS
CADRE OF RED COATS. THE NURSE screams and tries to back away. THE
CHILDREN cling to her, petrified, shrieking, starting to cry.
BUB lumbers up to MARY and...salutes. MARY returns the formality.
MARY
It's alright. I don't think they'll hurt
us. Try to stay calm.
149 INT. THE OUTER CORRIDOR - NIGHT
THE MANUAL DOOR has been locked from inside.
RHODES
SHOOT IT OPEN!
THE SOLDIERS follow orders, TWO OF THEM FIRING AT THE LOCK.
150 INT. THE FIRING RANGE - NIGHT
MARY is at A CABINET pulling out PISTOLS AND RIFLES, passing the
weapons around to TONTO, BLUTO, SAMSON. BUB is strapping on his TWO-
GUN HOLSTER SET all by himself, fumbling a little, but succeeding.
151 INT. THE CORRIDOR WITH RHODES - NIGHT
RHODES' MEN kick open the door and charge into the Dormitory
corridor.
152 INT. THE FIRING RANGE - NIGHT
THE NURSE slams ANOTHER MANUAL DOOR, locking and bolting it.
NURSE
They're coming! They're coming!
She hurries along the caged alley behind the firing stalls guiding
THE CHILDREN to an opposite exit.
BLAM! BLAM! MARY IS FIRING at AN ORANGE CIRCLE VEST on one of the cut
out target figures in the range. THE RED COATS are watching with
curiosity, cocking their heads.
MARY moves to fire again but BLUTO grabs her hand.
MARY
NO...BLUTO...I'M TRYING TO...
The dumb creature keeps his grip. MARY has to appease to him. She
grasps his hand and shakes vigorously. When he finally lets go, she
aims her PISTOL again and FIRES AT THE VEST SEVERAL MORE TIMES.
MARY
Look. It's good to shoot the circles. Good.
Good.
THE ZOMBIES are confused. Exasperated, MARY tears off her own vest
and tosses it down the alley. THE RED COATS look befuddled, and a
little angry. MARY FIRES at the vest she threw down. TWO BULLETS HIT
IT before MARY'S PISTOL CLICKS...empty.
There's A POUNDING AT THE DOOR. It's RHODES AND HIS TROOP.
Suddenly BUB steps into position. WHAP! One of his famous quick
draws! BLAM!!! HE FIRES. THE VEST ON THE FLOOR, MARY'S VEST, IS HIT.
BUB FIRES AGAIN, the other gun this time. THE VEST ON THE TARGET IS
HIT squarely in the center of its orange circle.
TONTO now turns. He lifts his PISTOL and FIRES. THE VEST ON THE
TARGET IS HIT AGAIN, off center, but hit.
MARY
THAT'S IT! THAT'S IT!
Suddenly THE DOOR AT THE END OF THE RANGE FLIES OPEN. THREE OF
RHODES' MEN RUSH IN, wearing, of course, orange circles. THE RED
COATS OPEN FIRE. THE TROOPERS ARE CUT TO RIBBONS. Others outside the
door duck back behind the walls.
THE ZOMBIES lumber toward the open doorway, STILL FIRING AS THEY GO.
MARY is backing away through the opposite exit. BUB sees her leaving.
He calls to her with a deep, pleading moan. MARY stops and looks at
him sadly. He shoots off a military salute. MARY salutes him back.
There are tears in her eyes.
She turns and hurries off. BUB joins his fellows in pursuit of
Rhodes' and his men.
153 INT. THE GYMNASIUM - NIGHT
A WOMAN'S FACE IS FULL SCREEN. She is screaming in agony as she is
TORN APART BY ZOMBIES. The creatures have invaded the gymnasium.
They're CLAWING AT THE FAT-CAT COUNCILLORS, MAULING THEIR WOMEN.
GASPARILLA AND TWO OTHER MEN are rolling around crazily, bumping into
exercise machines, knocking over wine bottles and tables full of
hors-d'oeuvres. The single vest they are fighting over rips apart
into two pieces, its orange circle severed into two useless halves.
GASPARILLA backs across the floor, his blubber bouncing. He has a
tattered piece of the vest clutched in his hands. He tries to spread
it out on his chest but it's too late... and THE ZOMBIES are too
hungry...much too hungry.
MONTAGE: as ALL OVER THE ROOM THEY STRIKE. This is it, gore fans. The
gross finale. The intestine-tugger. THE ZOMBIES GET THEIR SUPPER.
THEY FEAST AMONG THE PILLOWS, like Romans at an orgy. MUSIC still
plays over the gymnasium speakers, rock-a-billy in a gleeful tempo.
GASPARILLA has retreated into his tanning-coffin but a pudgy arm and
a leg are dangling outside. ZOMBIES CHEW HUNGRILY on the juicy
morsels. From inside the coffin, where ultraviolet glows brightly,
come the piercing, agonised screams of the fat General.
154 INT. THE MAIN CHAMBER OF THE CAVE - NIGHT
DIESEL guides SPIDER through the huge earthen archways. ZOMBIES here
are scattered now, but they provide for delays. DIESEL FIRES and
ZOMBIES ARE HIT but few are hit fatally. DIESEL'S free arm can't fire
accurately while he's trying to support the walking bomb beside him.
DIESEL stops to check his map. A ZOMBIE looms up behind him and takes
a HUGE BITE OUT OF HIS SHOULDER. DIESEL screams. He lets go of SPIDER
who stumbles away from him, almost falling but saving herself. Her
eyes are bugging with pain.
DIESEL FIRES POINT BLANK AT THE ZOMBIE, BLOWING ITS HEAD TO BITS.
MORE CREATURES are pressing in close. DIESEL bats at one, kicks
another, punches a third. Then he rushes to SPIDER'S side and scoops
her into his arms again. Wincing in pain from THE BLEEDING WOUND IN
HIS SHOULDER he manages to move out of immediate danger.
THE ZOMBIES lumber after the two, groaning in chorus as they walk.
155 INT. THE CORRIDOR AT EXIT FIVE - NIGHT
MARY, THE NURSE AND THE CHILDREN come charging down the hall. TOBY,
SARAH, AND JOHN are waiting for them near the open door which leads
out into the jungle. TOBY AND MARY rush into each other's arms and
they flee, with the others, out into the night.
156 INT. A CORRIDOR NEAR THE DORMITORY - NIGHT
RHODES AND HIS MEN rush into another corridor where they are met by a
crowd of DROOLING ZOMBIES. THE MEN OPEN FIRE but the ZOMBIES are too
close in. They get the upper hand.
RHODES FIRES HIS MAGNUM, his eyes insane, his face boiling red with
disbelief. After TWO SHOTS BLAST OPEN THE HEADS OF THE CLOSEST
ZOMBIES, THE MAGNUM just CLICK-CLICK-CLICKS! RHODES is out of lead.
He's grabbed by ONE ZOMBIE, then ANOTHER. He fights to free himself
but HE'S BITTEN ONCE...TWICE...
BLEEDING, he fights on. He struggles to a doorway and pushes through.
157 INT. ANOTHER CORRIDOR - NIGHT
RHODES comes face-to-face with...you guessed it...big BUB. THE ZOMBIE
faces off, ready to draw those SIX-GUNS that hang at his hips. RHODES
turns and runs.
WHAP! BUB slaps leather. BLAM! BLAM! BLAM! RHODES turns a corner but
ONE BULLET BITES HIM ON THE BACK OF HIS SHOULDER. Terrified, fighting
pain, he staggers on with the gun-totin' RED COAT following behind.
158 EXT. THE JUNGLE - NIGHT
THE REBELS lead MARY, THE NURSE AND THE CHILDREN through the
underneath. TRICKS is bleeding badly. TOBY helps him along. Suddenly,
as they break into a clearing, SARAH stops cold. There on the ground,
lying where we last saw it, is THE CORPSE OF MIGUEL.
JOHN
What is it?
SARAH
It's...he was...one who came to the island
with me.
TOBY
Come on. No time.
SARAH
He was killed...five days ago.
MARY
Maybe...maybe he wasn't dead. Are you sure
he was dead when you left him?
SARAH
Look at him. A hundred bullets. You tell
me. Was he dead?
There are tears in SARAH'S eyes.
SARAH
Five days...and he hasn't...risen. He
hasn't risen.
TOBY
Come on. There's no time. There's no time
to lose.
THE GROUP pushes ahead. SARAH kneels. She blesses herself and makes
the sign of the cross over the corpse. Then she stands to see that
JOHN is waiting for her. He holds out his hand, she takes it and
follows the others.
159 EXT. THE BACKWATER - NIGHT
THE SOLDIERS aboard THE FISHING BOAT hear NOISES coming from the
surrounding jungle.
SOLDIER
WHO IS IT? WHO'S OUT THERE?
JOHN (o.s.)
WE WANT THE BOAT! DROP YER GUNS OR WE'LL
BLAST YOU!
THE SOLDIERS hesitate, looking around at the dark jungle.
TOBY (o.s.)
WE GOT YOU SURROUNDED!
A SUDDEN BURST OF AUTOMATIC FIRE LIGHTS UP THE BLACK FOLIAGE. THE
SOLDIERS react, flinging their WEAPONS over the side into the water.
THE REFUGEES spill out of the undergrowth and scramble over to the
boat, lifting THE CHILDREN and THE WOUNDED TRICKS on board carefully.
JOHN pauses to look back into the jungle.
JOHN
Damn you, island. Damn you ta Hell and
worse!
McDERMOTT
We ain't outa here yet. Get yer ass movin'
ya dumb bastard.
McDERMOTT tries to slug from his flask, finds it empty. With a shrug
he tosses the thing into the backwater. THE ENGINE STARTS as JOHN
climbs aboard, SARAH AND TOBY giving him their hands.
160 INT. THE MAIN CHAMBER WITH DIESEL AND SPIDER - NIGHT
161 INT. THE LABORATORY AREA WITH RHODES AND BUB - NIGHT
(These two sequences will be intercut for parallel action)
ZOMBIES are crawling all over DIESEL now. He fights them off
valiantly but his super strength is waning. HE IS BITTEN AGAIN AND
AGAIN but he tries to keep himself between THE CLUTCHING CREATURES
AND THE LITTLE DEAF MUTE who is stumbling along ahead. She's getting
very close to a huge SET OF CONCRETE SLABS...THE DOORS TO THE POWDER
MAGAZINE.
Meanwhile RHODES approaches another corner in the hallway near the
Conditioning Room. BUB follows, his boot heels CLICKING the way
RHODES' own heels once clicked.
RHODES dives for the corner. BUB slaps leather and FIRES OFF ALL
TWELVE. RHODES rolls on the ground crazily. HE'S HIT SEVERAL
TIMES...but he's still alive. He pulls himself, in agony, out of
range. Calmly, BUB dumps out his spent shells and starts to reload.
IN THE MAIN CHAMBER, DIESEL IS OVERCOME, DRAGGED DOWN BY A MOB OF
ZOMBIES. THEY START TO TEAR HIM APART BIT BY BIT.
SPIDER walks on alone. She is just a few feet from the POWDER
MAGAZINE now. A ZOMBIE grabs her from behind but just gets a handful
of shirt. SPIDER reaches forward but the creature holds her back. Her
SHIRT IS RUNNING RIVERS OF BLOOD NOW where the vials are implanted
underneath.
RHODES crashes through a doorway into THE CONDITIONING ROOM. He
realises, too late, that there's no exit. BUB'S BOOTHEELS are getting
LOUDER. RHODES crawls around behind THE TABLES FULL OF TESTING
EQUIPMENT, WOODEN SHAPES, FLASH CARDS SCATTER. Over near the LARGE
COLOURED SYMBOLS which are mounted on the wall there's A WEAPONS
CABINET. RHODES grabs a chair and smashes open the glass.
BUB steps into the open doorway, still reloading his PISTOLS. He
stands there, a golem, his fingers slowly, calmly working. He drops a
shell or two but soon the barrels are filled with fresh loads.
RHODES reaches in through the broken glass and pulls out AN
AUTOMATIC.
BUB slaps his PISTOLS back into their HOLSTERS and face off.
RHODES lifts the AUTOMATIC...aims...
BUB DRAWS! BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! BLAM!
BLAM! BLAM! BLAM! EACH ONE OF THE TWELVE BULLETS HITS RHODES
SOMEWHERE, many of them in the "kill-zones". He screams when the
first few rounds hit, but his screaming stops about halfway through
the barrage. That's when he dies. His leg bones support his corpse
long enough for the last six bullets to reach him. Then, as THE SOUND
OF BUB'S GUN ECHOES AWAY down the corridors, RHODES BODY slides down
the wall and crumples to the floor in a heap, leaving MUCH OF HIS
BLOOD on the ORANGE CIRCLE that's mounted behind him.
IN THE MAIN CHAMBER, A ZOMBIE TAKES A BITE OUT OF SPIDER'S SHOULDER.
IT PULLS OUT A BIG CHUNK OF FLESH, AND WITH IT, STUCK IN THE
CREATURE'S TEETH, COMES ONE OF THE NITRO VIALS.
SEVERAL ZOMBIES are pulling at the woman. She is still reaching for
the POWDER MAGAZINE DOORS but the ghouls are pulling her away.
THE CREATURE WITH THE TEST TUBE IN ITS MOUTH pulls the bothersome
thing out from between its teeth. It studies the vial curiously for a
moment, then it tosses it angrily towards SPIDER, toward THE MAGAZINE
DOOR...
KA-BLOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOM!!!
162 INT. THE MAIN CHAMBER (EFX) - NIGHT
A HALLACIOUS FIREBALL RIPS THROUGH THE CAVE.
163 INT. THE CONDITIONING ROOM - NIGHT
BUB stands in the open doorway staring at RHODES' still twitching
corpse. He slaps his SIX-GUNS back into their leather HOLSTERS, then
he shoots off one of those military salutes of his....just as the
walls fall in on him.
164 EXT. THE FISHING BOAT - NIGHT
THE REFUGEES stare toward the island as A HUGE BOOOOOM FILLS THE
NIGHT. Some of the YOUNGER CHILDREN start to cheer as though watching
fireworks on the Fourth of July.
165 EXT. GASPARILLA'S ISLAND (THEIR P.O.V.) - NIGHT
THE TOP BLOWS OFF THE ISLAND, just as TOBY predicted is would. It's
as though an enormous underground volcano is exploding. It's a
frightening...yet beautiful sight.
166 EXT. THE FISHING BOAT - NIGHT
TOBY looks back over his shoulder. THE NURSE is kneeling beside the
body of TRICKS. He's dead. The woman pulls a blanket up over his
head. TOBY steps forward, his PISTOL drawn. He pulls the hammer back
and aims at TRICKS' head.
SARAH
No. Don't. Wait. Wait to see if... wait
until it's necessary.
TOBY turns and looks at MARY. She nods. He releases the PISTOL HAMMER
without firing.
DISSOLVE TO:
167 EXT. ANOTHER ISLAND (WIDE EST.) - MORNING
Gorgeous, a paradise. BIRDSONG fills the air.
168 EXT. A RIVER ON THE ISLAND - MORNING
THE REGUGEES are all gathered. THE CHILDREN walk, one by one, through
the shallows as JOHN baptises them. SARAH, MARY AND THE NURSE carry
the infants. When the infant in SARAH'S arms has been touched by
JOHN'S hand, SARAH doesn't move on. Instead, she looks up into the
big man's warm eyes.
SARAH
Me too...please.
JOHN gently cups a handful of river water and pours it on the woman's
forehead.
THE OTHER ADULTS, led by LUKEY, file into the river, all lining up
before the baptist, waiting their turns to be blessed into this tiny
new society.
169 EXT. A BEACH ON THE ISLAND - MORNING
TRICKS' BODY lies covered in the sand. THE REFUGEES are gathered
again, heads bowed, while JOHN speaks.
JOHN
Satan ain't sent this man back. Not yet,
anyway. So we all hopin' that maybe he's up
there with you, Lord. This might be the
first decent soul we been able ta offer ya
in quite a few years. That's a fact. We
just gonna... pray, Lord. We gonna pray
that what seems ta be happenin' here...is
really happenin'...and I'm gonna take the
chance and speak these words that I ain't
been able ta speak for so long...
May he rest in peace
THE OTHERS
Amen.
170 EXT. THE BEACH - NIGHT
THE CORPSE lies in the MOONLIGHT. NIGHT CRITTERS SCREECH AND BURBLE
in the jungle behind the sand. It's an eerie scene.
SARAH is sitting up, her RIFLE ready in her lap, watching the body.
JOHN steps in behind and she startles.
JOHN
Just me. I'll take the next shift.
He settles easily down beside the woman. The two stare together at
the shrouded corpse.
SARAH
How long do we have to watch him?
JOHN
Forever, darlin'. Forever. 'Til he turns ta
dust and blows away on the wind.
THE BODY lies silent, rigid under the KHAKI ARMY BLANKET that rises
and falls, rises and falls with the Gulf breeze.
Suddenly...A LOUD MUSIC CHORD! A SUDDEN MOVEMENT!
It's the movement of RED LETTERS that spin up off the head of the
corpse and settle before our eyes.
The letters read: "THE END (I PROMISE)"